Jamie's Italian Australia has had a rocky few years — with ownership changing hands and the closure of a few local stores. Luckily, the Brisbane-based Hallmark Group took over the management of the Australian restaurants and, now, perhaps in an attempt to help us put our faith back in the brand, Jamie's Italian on Pitt Street is bringing back its super-popular $50 bottomless prosecco lunches. The one-month deal will run every Saturday and Sunday (from 12–4pm) in October — and it includes a lot more than just two hours of endless sparkling wine. Each table will be served small bites to share (including those crispy polenta chips), and everyone will get a big bowl of pasta. You'll be be able to choose which one you want, too — think classics like prawn linguine and carbonara, and signatures including the truffle tagliatelle and fresh crab spaghetti. Plus, you can top it off with a dessert or an espresso martini for just $10. If we know anything, it's that people really love Jamie's Italian. As such, these lunches are sure book out fast, so front a pineapple and book it already.
They're taking to hobbits to Isengard at the Hayden Orpheum this November, with one movie marathon to rule them all. Round up the Fellowship, stock up on lembas bread for sustenance and hide your finest pipe-weed from the Southfarthing for one sitting of all three of Peter Jackson's beloved OG Tolkien film adaptations — in their extended forms. Kicking off with The Fellowship of the Ring and ending with The Return of the King, this cave troll of a marathon clocks in at 686 minutes plus intermissions, starting the journey at 10.30am and including two 20-minute meal breaks (breakfast and second breakfast, if you will). If you make it to the final handful of endings, you can pat yourself on the back and smash a ringwraith screech at the nearest Cremorne resident on your way home (note: do not actually screech at the residents). Tickets are the precious and come in at $25 for the whole ordeal.
If you've kicked off the new year with grand plans of health kicks and leafy green salads, you might want to put them on hold for just a few more weeks. Especially if you're a lower north shore local. That's because The Fernery's lush rooftop terrace is about to kick off a month-long festival of melted cheese. Launching Saturday, February 1 and running daily through the month, the Mosman Melted Cheese Festival is set to deliver a dairy-fuelled menu to tempt even the most hardcore cheese fiends. The limited-edition lineup covers the stretchy, the oozy and the decadently gooey, with dishes like an extra cheesy New York-style cheeseburger ($24), salty haloumi sticks ($17) and a four-cheese revamp of the classic mac and cheese ($19). There's also a honey-drizzled baked camembert served with house-baked flat bread for dipping ($17) and you'll even find a dessert cheese fix in the smooth and fluffy cheesecake teamed with fresh fruit ($16). [caption id="attachment_648349" align="alignnone" width="1920"] The Fernery[/caption] The Fernery's got your drinks match sorted, too. Round out your cheesy rendezvous with a drops like Lanson Champagne ($20 glass, $99 bottle) and the Margan rosé ($12 glass, $50 bottle) out of the Hunter Valley. Images: Madeleine Ryan @ Papaya.
We've gone from grand slams and tennis whites to glitter and drag queens within a matter of weeks. Kings Cross Theatre's latest production is mashing together these two rather polarising events into one colourful, titillating explosion — and it's a must-see this Mardi Gras season. Angus Cameron's Australian Open brings courtship to Rod Laver Arena, with a focus on tennis and open relationships. Felix is contemplating proposing to his partner, Aussie tennis star Lucas (Patrick Jhanur). On Felix's birthday — and after Lucas's loss to Federer — they discuss their polyamory with Felix's parents Belinda (Di Adams) and Peter (Gerard Carroll), as well as later with his sister Annabelle (Miranda Daughtry). Some agree that non-monogamy in marriage is unconventional, sure, but not a bad idea — other's don't. What ensues is a debauched game of doubles. This grand slam of a rom-com keeps things light — expect big gay rainbows (figuratively) and a confetti gun (literally) — and breaks the stereotypical idea that queer stories are tragic. Yes, it raises a few uncomfortable truths, but this energetic show is more fun than it is reflective. Directed by Riley Spadaro, Australian Open is a collaboration between bub and bAKEHOUSE Theatre Company and is taking over KXT from Friday, February 14 to Saturday, February 29. [caption id="attachment_762206" align="alignnone" width="1920"] Clare Hawley[/caption] Images: Hannah-Rae Meegan and Clare Hawley.
Get your dancing shoes on Sydney, because one big ol' glittery party series is headed our way. The ivy's new LGBTQI+ club night, POOF DOOF, has partnered up with Absolut Vodka to turn it all the way up for Mardi Gras this year. Expect to get down to anthems by the likes of Gloria Gaynor, Madonna, Pet Shop Boys and Cher, 'cos this party is here, loud and (very) queer with pre-Mardi Gras raves, from February 15–29. Having taken up residency at the Merivale precinct back in November 2019, the legendary Melbourne-bred party has since thrown some of the best blowouts citywide — and it's primed to get even better now that the CBD lockout laws have been lifted. The parties will take over the courtyard, terrace and den with an all-out rave each Saturday from 10.30pm. Dance well into the night with house and techno pumping on the main dance floor. Or, you can vogue in the side room — dubbed Snap Crackle Pop — which will be blasting queer pop anthems all night. The Mardi Gras series will kick off with We Are Stardust on Saturday, February 15, with DJs Unknown Associates headlining, plus a lineup of more DJs and drag queens. On February 22, you can enter into the queer stratosphere at Planet POOF DOOF — an intergalactic Mardi Gras welcome party. Come Friday, February 28, there'll be the Big Gay Pool Party taking over the ivy's Pool Club. And, for its final stint on Saturday, February 29, POOF DOOF's Mardi Gras series will close out with a massive Mardi Gras Parade After Party. Tickets for each night start from $25 and are on sale now. Pre-purchase online and you'll receive a 'rainbow hour' wristband upon arrival, which will get you a one-hour drinks package from 10.20–11.30pm — so get on it.
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
Fancy reliving your childhood film favourites on the stage? That seems to be the current trend. Harry Potter and the Cursed Child is doing big business in Melbourne, the Charlie and the Chocolate Factory musical has been taking its golden tickets around the country, and now Shrek the Musical is bringing its all-singing, all-dancing version of the animated movie franchise to Sydney's Lyric Theatre from January 1, 2020. Expect plenty of green when this Tony and Grammy award-nominated stage show finally makes its way to our shores, after first premiering on Broadway back in 2008. Since then, everyone's favourite ogre — originally voiced by Mike Myers — has sung his way through theatres in the UK, Asia Europe, Canada, Latin and South America, Israel and Scandinavia. You know the story, of course — unless you somehow managed to miss the original 2001 Oscar-winning film, its sequels in 2004, 2007 and 2010, and the heap of spin-offs, shorts, TV specials and series that all followed. Based on the 1990 picture book Shrek!, the tale follows the reclusive but kindly titular figure who endeavours to rescue the feisty Princess Fiona from the the fairy tale-hating Lord Farquaad, all while trekking along with a talking Donkey sidekick. Shrek lovers can expect a whopping 19 songs, an obvious colour scheme and plenty of other fairy tale references. After its Sydney run, it will head to Her Majesty's Theatre, Melbourne and the Lyric Theatre, Brisbane. Check out the trailer for the production's UK run below: https://www.youtube.com/watch?v=ESm1JoEIXAY Image: Helen Maybanks.
Clear your diary, grab your sneakers and prepare to get busy, boombastic and nostalgic — Shaggy and Sean Paul are heading on a tour of Australia this summer. It was revealed earlier this year that the two reggae stars would be headlining Southeast Queensland's inaugural One Love Festival, and, now, it has just been announced that they'll also be hitting up Sydney, Melbourne and Perth in January and February. Yes, the shows will be taking place in the summertime, but if there is a storm, we're sure Sean Paul will be able to shelter you. Enough of the song puns, though, you know the hits and you probably already have them stuck in your head. If not, we suggest you listen to (and get ready to relive), Shaggy's 'Luv Me, Luv Me' and 'It Wasn't Me', and Sean Paul's 'Get Busy' and 'No Lie'. The two 90s and 00s stars will be supported by US reggae-pop singer Josh Wawa White, too. So get ready for a full evening of reggae come summer. https://www.youtube.com/watch?v=6W5pq4bIzIw Top image: Jonathan Mannion
Life drawing and classes all typically unfold in the same manner: a model disrobes, budding artists commit their likeness to paper, and a wealth of potential masterpieces all focus on the naked human form. But at Magnolia's Art Class, that's just part of the equation. The other part? The folks behind the easel are also encouraged to drop their clothes. Open to women and female-identifying participants, next taking place on Wednesday, January 22 at Dulcie's Kings Cross, this art session is also a bonding session. It asks artists to embrace their own bodies while they're sketching someone else's, and celebrates confidence, diversity and empowerment in the process. And, it also lets attendees strike a pose as well — while there'll be an art model leading the charge, everyone can trying their hand at standing in their place. This time around, tickets cost $27 and, given that Australia is still burning, proceeds will go towards helping communities and animals affected by the current bushfire crisis. All 100 percent of the ticket price will be split and donated to the NSW Rural Fire Service, the RSPCA and WIRES's Emergency Wildlife Fund. You can also tack on an extra donation when buying a ticket through the Eventbrite page. Given the venue, there'll also be wine, cocktails and cheese available to purchase. How naked you get is up to you, based your own comfort levels — and the section of the bar where the class takes place will be closed off, and solely served by female staff. All drawing skill levels are welcome, too, with the teacher Kate taking you through the basics. Just BYO dressing gown, sketch book, and drawing or painting tools.
What do you get when you mix disco, a circus, and cabaret? Our best guess is Club Briefs, an adults-only variety show of disco, circus and burlesque that is making its return for Mardi Gras. Get ready to dance to your fave dance floor bangers and watch the crazy antics of the Briefs cast, which is made up of cabaret and circus artists from across the queer cabaret world. The show, running nightly from 8.30pm, mixes genres and ideas as they challenge stereotypes, celebrate inclusion and diversity, and explores gender, race, politics, and sexuality.
Regular yoga is one thing, but you can't beat getting bendy by the water. Especially when it's part of a complimentary, expert-led zen-filled class, like the ones you'll enjoy as part of Pier One Sydney Harbour's Yoga On The Pier series. The boutique hotel is running these free weekly sessions for all skill levels, every week through until March 27, in conjunction with its new jam-packed wellness program The Retreat. Every Wednesday evening, you'll be guided through a 50-minute yoga class, with the harbour making for a pretty stunning backdrop and Lululemon Sydney ambassadors like Brooke Elliston and Sam Belyea as your teachers. What's more, you can fuel up post-workout in style at the hotel's restaurant The Gantry — pre-order a salad ($20), passionfruit kombucha cocktail ($21), or six-course vegan or vegetarian tasting menu ($110) when you book your spot and it'll be ready to devour after the class. The Retreat program also features free meditation sessions every Tuesday morning at 7.30am. Check out the full program here. Classes are free but you need to register. Images: Caroline McCredie.
Once again, German DJ legend Claptone is preparing to hit Aussie shores, returning to deliver the latest edition of his international smash-hit soirée, The Masquerade. Popping up in Sydney for the second time, the mysterious, multi-sensory event is being presented in collaboration with Untitled Group — the creative minds behind the likes of Ability Fest, Pitch Music & Arts and Beyond the Valley. Having toured a selection of cities worldwide over the past few years, The Masquerade's next stop is the Australian Technology Park in Eveleigh on Saturday, April 6. It's set to transform the space into a den of revelry for one afternoon, featuring a heady mix of performances, acrobats, sounds and quirky characters you won't forget in a hurry. Promising to ramp up the intensity levels, all guests will be given masquerade face wear as they enter the event — a reference to Claptone's own signature golden mask.
Climb aboard the Bushranger's Bullet train this June long weekend and you'll be whisked away on a mighty adventure involving food, wine, art deco cinema, live music and country pubs. Hosted by Silver Compass Tours, The Roaring Days Food and Wine Trail carries you deep into NSW's wild Central West. The shenanigans begin in a private train carriage, which leaves Central Station on the morning of Friday, June 7. It'll be loaded with wine and delicious snacks, including Dreamtime Tuka treats featuring native ingredients, to enjoy on your journey to Orange. Over the next three days, you'll watch The Legend of Ben Hall in a 1930s picture theatre, visit numerous cellar doors and explore tiny country villages in the heartland of bushranger region. Oh, and you'll eat a lot — from dinner in an old-fashioned woolshed to a gin-fuelled Devonshire tea. On Saturday evening, your tour group will get locked inside a country pub by 'bushranger Ben Hall and his gang' in an epic re-creation of an 1863 siege, which turned into a wild three-day party. Like the real event, the reimagining will feature live music, a barbecue and beers (but this time it'll only last a few hours). Your ticket includes almost everything – most meals, snacks and wine tastings, three nights in a boutique hotel in Orange and transfers. If you're not keen to catch the train, you're welcome to self-drive. There'll be day passes available if you're only interested in Saturday's festivities, too. Tickets for The Roaring Days Food and Wine Travel Experience start from $897 per person and are available here.
Backhands, beats and artisan eats will converge on Rose Bay's Lyne Park Tennis Centre on Saturday, March 16. That's when social tennis event Social Serve returns to raise money for The Primary Club, an Aussie charity that helps people with disabilities to play sport. If your activewear hasn't had more of a workout than a stroll to the cafe at the end of your street, then here's your chance to put it to work. The good news is you'll only have to work as hard as you like. The sporty part of proceedings will take the form of friendly mixed doubles match from 4.30pm, with champs who kill it on the court heading into the finals. The whole thing will be capped off with a preso and drink from 7.30–9.30pm. Not so keen on joining the game? That's more than fine. Instead, relax on the sidelines, listen to local DJs, eat some snacks and drink some cocktails by Poor Toms. Spectator tix are just $19 and include a cocktail.
Dumplings, those slippery little parcels of pastry-wrapped meat and vegetables, have long been a friend to the budget-conscious. Running low on cash before pay day? Have dumplings for dinner. Saving your pennies for your next big getaway? Dumplings for dinner. Fancy eating a sizeable meal at a small price? You guessed it — and you can always change things up by having dumplings not just for dinner, but for lunch. If there's one dish that's better that an affordable plate of freshly steamed or fried dumplings, however, it's tucking into those bite-sized pieces for free. And that's what Pitt Street's New Shanghai is serving up across the weekend of Saturday, March 9 and Sunday, March 10. Expect the joint to be busy, unsurprisingly. Just drop by the Westfield spot at three set times: between 11am–12pm, 2–3pm and 4–5pm. Three types will be on offer, two, so we hope you like mini pork and prawn wontons, chicken and celery dumplings, and pork and Chinese cabbage dumplings. And you might want to get in early, with the freebies being cooked up while stocks last.
A session at Cargo Bar is all about cold drinks by the harbour — and it isn't complete without a little (or a lot of) bubbly. Happy to oblige, the Darling Harbour venue has installed a temporary pour-your-own prosecco fountain. Instead of the bottomless tap that took up residence at The Winery throughout summer, this one will be a by-the-glass deal. For $9 a pop, you'll be able to pour your own flute of bubbly straight from the source — in this case, a shell-clad tap by the bar. The tap will be up and running every afternoon (except Mondays) until the end of March, from 4–8pm on weekdays and 12–7pm on weekends. Get your mates together, stat.
Dev Patel means business in Monkey Man, both on- and off-screen. Starring in the ferocious vengeance-dripping action-thriller, he plays Kid, a man on a mission to punish the powers that be in Yatana (a fictional Indian city inspired by Mumbai) for their injustices, and specifically for the death of his mother Neela (Adithi Kalkunte, who Patel worked with on Hotel Mumbai) when he was a boy. As the film's director, producer and co-writer, he isn't holding back either, especially in adding something to his resume that no other project has offered in his almost two decades as an actor since Skins marked his on-camera debut. Dev Patel: action star has an excellent ring to it. So does Dev Patel: action filmmaker. Both labels don't merely sound great with Monkey Man; this is a frenetic and thrilling flick, and also a layered one that marries its expertly choreographed carnage with a statement. In the post-John Wick action-movie realm, it might seem as if every actor is doing features about formidable lone forces taking on their enemies. Patel initially began working on Monkey Man over ten years ago, which is when Keanu Reeves (The Matrix Resurrections) first went avenging, but his film still acknowledges what its viewers will almost-inevitably ponder by giving John Wick a shoutout. Thinking about the Charlize Theron (Fast X)-led Atomic Blonde and Bob Odenkirk (The Bear)-starring Nobody is understandable while watching, too — but it's The Raid and Oldboy, plus the decades of Asian action onslaughts and revenge-filled Korean efforts around them, that should stick firmest in everyone's mind. All directors are product of their influences; however, Patel achieves the rare feat of openly adoring his inspirations while filtering them through his exact vision to fashion a picture that's always 100-percent his own (and 100-percent excellent). In a city that has a Gotham-New York relationship with its real-life counterpart, Kid isn't a feared assassin who other hitman consider the boogeyman. While Batman nods come through, too, he's definitely not a wealthy man about town with a secret alter ego as a saviour cleaning up the corruption that's darkening the streets. The second part is his aim, just without the cash to fund it — but before that fantasy can fall into place, he's donning a monkey mask and playing the pawn to brawnier wrestling opponents, as the sunglasses-wearing Tiger (Sharlto Copley, Patel's Chappie co-star) emcees. Losing earns him a living. It also lets him hone his fighting skills. And, it's a time-biding tactic, as Kid works his way closer to Yatana's most powerful, such as Chief of Police Rana (Sikandar Kher, Aarya), plus Sovereign Party leader and guru Baba Shakti (Makarand Deshpande, RRR). (Parallels with reality that punch through Kid's quest aren't by accident, with IRL news footage weaved in to stress the point). His stepping stone to his targets: getting a job with Queenie Kapoor (Ashwini Kalsekar, Merry Christmas), who runs restaurant-slash-brothel King's Club, which services the well-to-do. In a gig that nabs him a friend in fellow employee Alphonso (Pitobash, Prachand), Kid says that he'll do anything. He isn't lying when it comes to using his position as a means to play out the vendetta against the man who made him an orphan, as well as the Hindu nationalist organisation leader that the latter is tied to. Patel and co-writers John Collee (Boy Swallows Universe, and another Hotel Mumbai alum) and Paul Angunawela (Keith Lemon: The Film) entwine flashbacks to Kid's childhood, heartbreak and getting comeuppance for it furnishing his backstory. They also knit in Hanuman, the Hindu deity that their protagonist was told stories about when he was young — as was Patel himself — and now draws upon, as assisted by India's third-gender hijras population, as if he's becoming the monkey god himself. Originally, Monkey Man wasn't set to bounce its kinetic brutality through cinemas, nor Patel's gravitas-laced action-star performance or Sharone Meir's high-octane, often neon-lit cinematography (which follows his lensing of Silent Night, another flick about one man seeking retribution against the unscrupulous for a shattering loss). Netflix was due to be its home, then Jordan Peele's (Nope) Monkeypaw Productions stepped in to help lock in a big-screen date. (Peele, who made his own blistering filmmaking debut with Get Out, knows the route that Patel is walking intimately). The vision for Monkey Man was clearly bigger from the outset, though, and not just via frays that dance with raw energy and prove a dazzling spectacle worthy of a movie theatre's giant canvas. It's impossible not to notice that this, like much in film of late, is an origin story. Monkey Man is a calling card several times over, then: for Patel kicking ass and killing it, for the actor-turned-director behind the camera and for more to hopefully follow. To describe the aesthetic Monkey Man experience, paraphrasing The Nanny's theme tune (as thoroughly unrelated as it is) works: this has style, it has flair, and Patel is well and truly there. It has an infectious immediacy and intensity as well, aided by dizzying fist-to-fist bash, crash and smash clashes — melees that injure eyes, heads, throats, limbs and testicles alike — plus propulsive editing (by Joe Galdo, an additional editor on Ferrari; The Crowded Room's Dávid Jancsó; and Black Mirror alum Tim Murrell) and a mood-setting urgency in its score (by Australian composer Jed Kurzel, who was responsible for the sounds of Snowtown, The Babadook and Nitram). There's also meaning in the franticness as blood and sweat fly feverishly, with each face-off increasing in polish. Again, Kid as an unstoppable force isn't a given going into his first bout out of the ring. Patel hasn't become a hulking figure to look at. His character grows into the physicality of his mission, on a journey that apes his coming-of-age path — because crunching bones and smartly telling this tale aren't mutually exclusive. Paying tribute to genres and movies that Patel loves, including taking cues from the liveliness and enthusiasm of both Hong Kong actioners and Bollywood musicals, and even nodding to Nicolas Winding Refn's Drive and Only God Forgives; making a deep-feeling ode to Indian culture and myths; baking in a heated takedown of oppression, inequality and societal power used only for self-interest; exploring the impact faith has for better and for worse; honouring family: Monkey Man does it all. Patel also gives himself the kind of fierce showcase that's worlds away from the likes of Skins, Slumdog Millionaire, his Oscar-nominated Lion performance and The Personal History of David Copperfield. If his portrayal has predecessors on his filmography, it's via The Wedding Guest and The Green Knight, both vastly different flicks that delivered glimpses of where Monkey Man now takes him. That destination: a passion project that's an arrival several times over for a talent crafting his dream flick with confidence and commitment, matching mayhem with a message, and knocking it out of Monkey Man's underground fight clubs, elevators, bathrooms, hallways and everywhere else where Patel wreaks intoxicating havoc.
Sydneysiders, prepare to get hopelessly devoted — again — to Rydell High, summer lovers reuniting at school, leather jackets and Pink Ladies. Because giving Grease a prequel streaming series wasn't enough, the 50s-set musical is returning to its original home, with Australia's brand-new multimillion-dollar theatre production of the five-decade-old show set to be the one that local audiences want from Sunday, March 24–Sunday, May 26, 2024. Grease is shaping up to be Sydney's big autumn hit, zipping into the New South Wales capital's Capitol Theatre like lightening in January. Everyone knows the plot by now, given how popular the 1978 movie adaptation of the musical rom-com still is, especially Down Under. It is about an Aussie transfer student, after all, who falls in love with an American high schooler in California. After Grease sped from the stage to become a silver-screen classic, it spawned a 1982 Michelle Pfeiffer-starring sequel, too, then streaming's Grease: Rise of the Pink Ladies. Cast-wise, Joseph Spanti (Friends! The Musical Parody, Cruel Intentions: The 90s Musical) and Annelise Hall (The Marvellous Elephant Man, Aspects of Love) are slipping into John Travolta (Paradise City) and the late, great Olivia Newton-John's (The Very Excellent Mr Crocodile Dundee) leathers as Danny Zuko and Sandy Olsson. Also featuring: Jay Laga'aia as Vince Fontaine and Marcia Hines as Teen Angel. The above stars, plus their fellow T-Birds and Pink Ladies, will obviously be belting out all the famous tunes — including the titular 'Grease' and fellow earworms 'Summer Nights', 'Sandy', 'Hopelessly Devoted to You', 'You're The One That I Want', 'Greased Lightnin' and 'Beauty School Dropout'.
Volcanic wines have long been an elusive gem, harnessing the richness of ancient soils to yield distinctive flavours full of character and unique aromas. The ancient practice remains popular with winemakers today, sharing their fan-favourite flavour profiles around the globe. To celebrate this captivating facet of winemaking, ESQ. is throwing a multi-course wine dinner, Fire & Vine: Exploring Volcanic Terroirs, on Wednesday, April 10. Step into Sydney's hidden gem, tucked away in the iconic Queen Victoria Building, and journey back to the clandestine world of prohibition-era speakeasies. Once you've discovered the secret bar, immerse yourself in a sensory dining experience with a curated five-course menu expertly paired with a selection of volcanic wines. Host Luigi Celiento will take you through each distinctive terrier and flavour of the wine with a fascinating history lesson. Enjoy the experience alongside a feast of Sydney rock oysters, kingfish ceviche, linguine alle vongole, and a decadent Valrhona white chocolate mousse. Secure your seat at this exclusive event, with early bird tickets at $195 per person and final release tickets at $220. Explore the full menu and reserve your spot now for an unforgettable evening of discovery.
Calling all cheese-lovers and aficionados. Local favourite Balmain Italian restaurant Secolo has partnered with cheese expert Romana Bergamaschi, of Rozelle's Cheese Celebration, to present a unique cheese degustation dinner on Thursday, April 11. Experience the wonderful world of cheeses from across the globe, curated by Bergamaschi, with a four-course menu prepared by head chef Mattia Senesi. The menu will focus on rare varieties of cheese, including whisky-infused cheese from Piedmont, honey goat gouda from The Netherlands, and an award-winning Australian blue vein (Bergamaschi will be talking to each cheese on the night). The meal will be a seamless sensory experience – think fresh figs with gorgonzola and polenta chips, Tortino al Parmigiano (a flan filled with oozing 18-month-old Parmigiano Reggiano), and Senesi's award-winning whisky risotto – perfectly paired with a curated list of Italian wines created by Sydney sommelier Paolo Orso. The event will set you back $149; secure your spot and book now for a unique cheese-filled dining experience. [caption id="attachment_948803" align="alignnone" width="1920"] Vaida Savickaite[/caption]
Every film is a portrait of ups and downs, no matter the genre. Without change and complications, plus either a sprinkling or a shower of chaos, there's little in the way of story for a movie to tell. In just three features, each hitting cinemas Down Under in successive years since 2022, Macedonian Australian filmmaker Goran Stolevski has demonstrated how deeply he understands this fact — and also that life itself is, of course, the same rollercoaster ride. So, when Housekeeping for Beginners starts by jumping between a joyous sing-along and a grim doctor's visit, he lays that juxtaposition between existence's highs and the lows bare in his third picture's frames. He has form: You Won't Be Alone, his folkloric horror film set in 19th-century Macedonia, segued early from new life to a witch's fate-shaping demands; Of an Age, a queer love story that unfurls in Melbourne, kicked off by flitting between dancing and a desperate against-the-clock rush. In You Won't Be Alone, the shapeshifting Wolf-Eateress who chose an infant to be her protege was played by Anamaria Marinca, the Romanian actor who has proven an unforgettable screen presence ever since the one-two punch of 2004's TV two-parter Sex Traffic — which won her a Best Actress BAFTA — and 2007's Cannes Palme d'Or-winning film 4 Months, 3 Weeks and 2 Days. Stolevski reenlists her assistance for Housekeeping for Beginners, and also illustrates his awareness of another immutable fact: that the eyes of Anamaria Marinca relay tales all by themselves. Here, they're weary but sharp and determined. They're devoted yet fierce, too. They possess the unrelenting gaze of someone who won't stop fighting for those she loves no matter what it takes, and regardless of how she initially reacts, a path that her social-worker character Dita is no stranger to traversing. That aforementioned crooning comes courtesy of precocious five-year-old Mia (newcomer Džada Selim), her rebellious teenage sister Vanesa (fellow debutant Mia Mustafa) and the charming Ali (Samson Selim, another first-timer), the young man who newly shares their Skopje abode. Everyone, including Vanesa and Mia's mother Suada (Alina Șerban, Bad Luck Banging or Loony Porn), dwells under Marinca's Dita's roof — with the latter not just cohabitating with her girlfriend and her kids, but turning the house that she inherited into a refuge for those that North Macedonian society frowns upon. Ali is the latest lover of Dita's longterm gay roommate and friend Toni (Vladimir Tintor, Kumovi), hanging around after an app hookup. Young lesbians Elena (Sara Klimoska, Tin Kamp), Flora (Rozafë Celaj, Sophia) and Teuta (Ajshe Useini, yet another newcomer) also call the spot home. Being queer isn't a criminal offence in Housekeeping for Beginners' setting, but both same-sex marriage and adopting children by LGBTQIA+ couples are illegal. In the country's class system, being anything but Macedonian is also hardly greeted with warmth; Dita is Albanian, while Suada, her children and Ali are Romani. This motley crew is navigating each and every day the best that they can together; however, their safe space has grief in its future. It's Suada and Dita who attend the medical appointment at the movie's start, with Suada diagnosed with stage-four pancreatic cancer. Her one wish: that Dita adopt her girls, and also get married to and play happy families with Toni, who is Macedonian, so that Mia and Vanesa will be free of the stigma that Suada has always had to weather as a Roma woman. Stolevski is a plunge-in director — and screenwriter and editor, again taking on all three roles on Housekeeping for Beginners as he did on Of an Age. He dives into lives already in action and motion, crafting films that feel like they're dropping in. Ups and downs have preceded the events that his movies spin into their plots, then, and more will follow after his flicks tap out. Accordingly, he isn't one to spoon-feed specifics and context. The dynamics between his characters in Housekeeping for Beginners are revealed to audiences naturally, as are the setbacks and discrimination they encounter, often as viewers spend time in Dita's always-noisy, always-bustling home. While this isn't a one-location picture — Šutka, the Skopje municipality that's the world's only local administrative area with Balkan Romani as its official language, also features heavily — it is a film where observing its key figures in surroundings both comforting and challenging conveys as much as dialogue. Putting Marinca at the fore, a mix of grace and intensity beaming from her performance as Dita, was always going to rank among Stolevski's best choices in a feature filmmaking career that's already filled with stellar casting (see: Constellation's Noomi Rapace, Bad Behaviour's Alice Englert and Elite's Carloto Cotta in You Won't Be Alone; and also Swift Street's Elias Anton, Eden's Thom Green and Savage River's Hattie Hook in Of an Age). He's also a detail-driven director, making emotions and complexities plain in decisions as simple as the arrangement of people at a wedding and where the camera peers (or doesn't) when someone is speaking. And, again and again, he guides portrayals to match. From Șerban, he gets blistering power, with Suada explosive from the moment that she questions whether her medical treatment is being shaped by her ethnicity. Džada Selim, Samson Selim and Mustafa are all discoveries, too, breathing realism and vitality into the movie's youngest hearts and minds. Roving and intimate cinematography from Naum Doksevski (Sestri) also ensures that watching Housekeeping for Beginners feels akin to stepping inside it — and pondering the same questions that Dita, Suada, Toni, Ali and company each are. As the film that was selected as North Macedonia's Oscar contender in 2024's Best International Feature category (The Zone of Interest won) rides just a sliver of the ups and downs that its characters will face in their days, albeit significant ones, it gets them examining what comprises a family. There might be no such thing as a smooth-sailing journey from birth to death, or a surefire way to avoid heartbreak and loss, for anyone. There certainly isn't within Housekeeping for Beginners, which can also skew darkly comic when it comes to the bureaucratic hoops that require jumping through. But as Stolevski charts in his third movie about yearning for a place to belong, it's the people that you share those travails with day in and day out that makes a household.
If all you wanted for an early Christmas gift this year was for the Matildas to put on a spectacular show at the 2023 FIFA Women's World Cup, Australia's national women's soccer team didn't disappoint. If all you're now hoping for this actual festive season is to hear three of the squad's stars chat about their experiences — and their careers in general, as well as what's brought them to this point — then the first-ever Open Air Live event is going to deliver there, too. Taking place at 7pm on Thursday, December 21 at Sydney's Commbank Stadium, Open Air Live will feature Matildas goalkeeper Mackenzie Arnold, forward Caitlin Foord and defender Alanna Kennedy, who'll be back in Australia to get talking. All three impressed on the pitch in July and August, and cemented their place as Aussie sporting heroes, even if the semi-final loss to England meant that the Matildas didn't end up with the ultimate prize. On offer as well: a live masterclass where Arnold, Foord and Kennedy will show off their skills; and a match-day vibe thanks to four stages and ample use of the stadium screens. There's obviously plenty for the three Matildas players to discuss. Their Women's World Cup efforts enraptured the entire nation, including breaking viewing records to become the most-watched program on Aussie TV since 2001 when current records began, and likely ever. They had Nikki Webster sing to them in Brisbane afterwards, and are getting a team statue in the Queensland capital. And, of course, the campaign was the result of years of hard work both as a squad and on the individual level to get the Tillies to this point. Arnold, Foord and Kennedy will be back in Australia for the event from the UK, where all the trio play in the Women's Super League. Arnold is West Ham United's captain, while Foord plays for Arsenal and Kennedy for Manchester City. Top image: Tiff Williams.
If the date of January 26 finds you looking for a thoughtful way to reflect on the impact of Australia's colonisation on its First Nations people, you should join the folks from Sydney Festival the evening prior. For the sixth year in a row, the festival will be running a vigil at Barangaroo Reserve. Unlike previous years, the 2024 iteration will span 45 minutes from 8.30pm, in place of the overnight ceremony that's taken place in years gone by. This year, the event is titled Vigil: The Future and will be all about hope and empowering young voices, giving them a platform to share their stories and art. The ceremony will feature a large-scale public installation and a performance from a choir of young First Nations singers. The event is free and registration is not required this year. If you can't make it in person, the festival is also streaming Vigil: The Future online as part of Sydney Festival's AT HOME digital program.
UPDATE, Friday, June 21, 2024: May December is available to stream via Binge, Prime Video, YouTube Movies and iTunes. A line about not having enough hot dogs might be one of its first, but May December is a movie of mirrors and butterflies. In the literal sense, director Todd Haynes wastes few chances to put either in his frames. The Velvet Goldmine, Carol and Dark Waters filmmaker doesn't shy away from symbolism, knowing two truths that stare back at his audience from his latest masterpiece: that what we see when we peer at ourselves in a looking glass isn't what the rest of the world observes, and that life's journey is always one of transformation. Inspired by the real-life Mary Kay Letourneau scandal, May December probes both of these facts as intently as anyone scrutinising their own reflection. Haynes asks viewers to do the same. Unpacking appearance and perception, and also their construction and performance, gazes from this potently thorny — and downright potent — film. That not all metamorphoses end with a beautiful flutter flickers through just as strongly. May December's basis springs from events that received ample press attention in the 90s: schoolteacher Letourneau's sexual relationship with her sixth-grade student Vili Fualaau. She was 34, he was 12. First-time screenwriter Samy Burch changes names and details in her Oscar-nominated script — for Best Original Screenplay, which is somehow the film's only nod by the Academy — but there's no doubting that it takes its cues from this case of grooming, which saw Letourneau arrested, give birth to the couple's two daughters in prison, then the pair eventually marry. 2000 TV movie All-American Girl: The Mary Kay Letourneau Story used the recreation route; however, that was never going to be a Haynes-helmed feature's approach. The comic mention of hot dogs isn't indicative of May December's overall vibe, either: this a savvily piercing film that sees the agonising impact upon the situation's victim, the story its perpetrator has spun around herself, and the relentless, ravenous way that people's lives and tragedies are consumed by the media and public. While Oscar nods mightn't have come of it, May December is also an acting masterclass by two thespians who already have one such shiny trophy on their mantles each, plus a performer who turns in a stunner of a portrayal that's his best yet. With Haynes behind the camera, this is no surprise: watching the talent before his lens, even when they're Barbie dolls in Superstar: The Karen Carpenter Story (the genuinely plastic rather than Margot Robbie kind), means bathing in pure emotion. In her fifth film for the director after Safe, Far From Heaven, I'm Not There and Wonderstruck, Julianne Moore (Sharper) perfects the clash of control and insecurity within Gracie Atherton-Yoo, the movie's Letourneau substitute. It's a magnificent effort from someone who is never anything less than that — and Natalie Portman (Thor: Love and Thunder), who plays a part so sharp that it cuts as Elizabeth Berry, an actor preparing to play Gracie in a new picture, is every bit her equal. With Charles Melton (Riverdale) as Gracie's husband Joe Yoo, there's a case of art imitating life, in a way. His character spends Elizabeth's visit and his entire time with Gracie coming second, and he's behind his co-stars in terms of fame, but it's Joe's plight that's the core of May December and also Melton's performance that hauntingly lingers. This film begins with faeces as well, which isn't emblematic of what's to come, either, but still an important inclusion. A package of it sits on the Yoo family's doorstep when Elizabeth arrives to meet them for the first time — and Gracie makes it clear that this has happened before. May December sets its narrative 23 years after Gracie and Joe were initially caught together. They were colleagues at a pet store aged 36 and 13, respectively. They now have three kids, one (Piper Curda, The Flash) at college and twins (debutant Gabriel Chung and Somewhere in Queens' Elizabeth Yu) graduating high school, and have built a life after Gracie's prison sentence. Still residing in Savannah, Georgia, as they always have, she baked cakes and he's most passionate about raising monarch butterflies. There's a wariness over Elizabeth's project among the Yoos, but reassurance that this will be a sensitive take is also part of her time with her latest subject and her spouse. Make no mistake, because Haynes and Burch don't: for the role that she's hoping will elevate her beyond the TV series that she's best-known for, Elizabeth sees Gracie and Joe as mere source material. She interviews others, such as Gracie's first husband (DW Moffett, Monarch) and her eldest son from that marriage (Cory Michael Smith, Incomplete), each conversation saying as much about the actor as the woman she's set to bring to the screen. As rigorously rendered by Portman, she also becomes enamoured with the scenario that she's unfurling. A moment where Elizabeth loses herself explaining sex scenes to school kids — and the conflict between portraying pleasure and pretending not to actually feel pleasure — is savagely revealing. As Killers of the Flower Moon also does, this deeply astute movie has much to say about how circumstances like Joe's become sensationalised news and entertainment fodder, what that betrays about society and why people lap it up; add reflecting on its own existence and purpose to May December's many profoundly intelligent layers. When mirrors appear, they're frequently used around Gracie and Elizabeth. Of course, the latter is being a mirror herself. Cinematographer Christopher Blauvelt — Kelly Reichardt's regular collaborator; see: Showing Up, First Cow, Certain Women, Night Moves and Meek's Cutoff — visually recalls Ingmar Bergman's 1966 psychological drama Persona, as the movie in general does, as the lines between its two women start to blur. May December is partly a movie about what Gracie and Elizabeth spy when they're studying what's in front of them, and how divorced from reality both are. Gracie embraces a carefully erected fantasy where there's nothing more than love to her relationship with Joe, regardless of her domination over their household and repeated dissolving into tears in their bedroom. Elizabeth only takes in how she can become Gracie to her own advantage. Although Haynes and Blauvelt ensure that Moore and Portman are everywhere, neither of their characters will or can confront themselves or their manipulations. Finally challenging everything that's been his daily existence since he was a child, and the role that he's been inhabiting whether he truly wanted to or not — or was capable of making that decision at such a young age — is the shy Joe. The only word that fits: devastation. May December knows this before Joe accepts it, which campy lines about frankfurters on bread accompanied by dramatic music — the film adapts and reorchestrates the score from 1971 Palme d'Or-winner The Go-Between, in fact — oh-so-cannily play into. With its rich and meticulous visuals, tonal seesawing that can court laughs and welcome melodrama, and evocatively grand music, Haynes' feature isn't being erratic. It's crafted with shrewd understanding that discomfort is the only way to respond to what it's depicting, and that there's no one mood that suits. So, Haynes plunges May December and its audience into the full emotional spectrum. Consider the film a cocoon where transformation takes place, to soaring results.
Move over New York — it's time for New South Wales to be overrun by a simian civilisation. Kingdom of the Planet of the Apes doesn't swap the Statue of Liberty for the Sydney Harbour Bridge. Rather, it was just made in Australia; this franchise is long past needing to anchor itself in a specific location, but America's west coast is the in-narrative setting. No it-was-earth-all-along twists are necessary, either, as France's famous gift to the US signalled back in 1968 when Pierre Boulle's novel La Planète des singes initially made it to the screen. More than half a century later — plus four sequels to the OG Planet of the Apes, both live-action and animated TV shows, Tim Burton's (Wednesday) remake and the reboot flicks that started with 2011's Rise of the Planet of the Apes — the saga's basics are widely known in pop culture. The titular planet is humanity's own. In this vision of the future, a different kind of primate runs the show. Since day one, every Planet of the Apes tale has been a mirror. Gazing into the science-fiction series means seeing the power structures and societal struggles of our reality staring back — discrimination, authoritarianism and even the impact of a world-ravaging virus should ring a bell— but with humans no longer atop the pecking order. These are allegorical stories and, at their best, thoughtful ones, probing the responsibilities of being the planet's dominant force and the ramifications of taking that mantle for granted. Not every instalment has handled the task as well as it should've, but those that do leave a paw print. Coming after not just Rise of the Planet of the Apes but also 2014's Dawn of the Planet of the Apes and 2017's War for the Planet of the Apes, Kingdom of the Planet of the Apes falls into that category. First helmed by Rupert Wyatt (The Gambler), with Matt Reeves (The Batman) taking over for the second two titles, the most-recent Apes trilogy had Caesar (Andy Serkis, Andor) at its centre. Raised by humans before the simian flu devastated the population and evolved apekind, he spearheaded the latter's uprising. That said, Caesar also retained his compassion for homo sapiens, especially as he gleaned how the worst traits in all primates are the same no matter what they're covered in. His time has now been and gone in the franchise. Swapping from one dystopian saga to another, The Maze Runner, The Maze Runner: The Scorch Trials and The Maze Runner: Death Cure director Wes Ball picks up briefly with a farewell to Caesar — but then, for the bulk of the picture, he takes Kingdom of the Planet of the Apes forward through many generations and several hundred years. The influential figure's name is now revered, and his wisdom — but, like humans, apes mould the plights and teachings of historical leaders to suit their own agendas. To some, Caesar is the reason to treat people, or "echoes" as they've been dubbed after losing the ability to speak, with kindness, understanding what the species once was and how it has fallen. For others, particularly of the power-hungry variety, he's the justification for retaining control of the planet by violence and at all costs. But in the peaceful eagle clan, birds not long-ago commanders are the main focus. So, when adolescent Noa (Owen Teague, You Hurt My Feelings), his crush Soona (Cowboy Bebop) and pal Anaya (Travis Jeffery, Before Dawn) leap into the story early, they're collecting eggs to take home, nurture and then rear the hatchlings, one of their community's rites of passage. In a narrative penned by Josh Friedman (Foundation) that nods eagerly to classic westerns, the pursuit of dominance at its most vicious at the hands of a warrior tribe taints young Noa's life quickly. Soon, everything that he knows is gone, sparking a hero's journey to rescue those among his loved ones that he can. When he crosses paths with orang-utan sage Raka (Peter Macon, The Orvill), he receives guidance, including about Caesar's pleas for ape unity. He's also counselled to tamper down his anger at and disdain for the feral human (Freya Allan, Baghead) shadowing his tracks, who he partly blames for his status quo turning to tragedy. Proximus Caesar (Kevin Durand, Abigail), the ruler directing a monkey regime of carnage, only has eyes for as much authority and supremacy as he can amass — and so in him, the encampment that he's made where apes enslave apes and his staunchly anti-human ideology, Noa finds a threat. Decades since dressing up actors in costumes to play the series' apes was the norm, Kingdom of the Planet of the Apes doesn't just have thematic and emotional realism on its side — it's never been hard to spot the franchise's parallels with reality — but also the verisimilitude gifted by its motion-capture approach (with Wētā FX doing the honours). That's how Serkis inhabited his part, and how Teague and company (everyone except Allan and Ricky Stanicky's William H Macy from the top-billed cast, in fact) follow in his footsteps. Serkis was a special consultant on the production, aiding the actors with their simian performances; the feelings conveyed through their work as a result are deep and affecting. Whether Teague is charting Noa's coming-of-age arc away from blissful naivety, the scene-stealing Macon is making Raka's appeal for empathy resonate or Durand is commanding every second that he's in sight as the hubristic Proximus, their portrayals are rich and insightful. Yes, you could call the performances that drive Kingdom of the Planet of the Apes' "human". Painted with pixels over the top, the film's digital fur looks so vivid that audiences can be forgiven for thinking they can touch it — and that combination of naturalistic, grounded and relatable portrayals with special effects that get viewers investing in the movie's animals as animals is potent and pivotal. In a saga that's always been committed to aping the state of the off-screen world, that reflective effect is essential. Ball and his team, cinematographer Gyula Pados (Shazam! Fury of the Gods, plus the last two Maze Runner flicks) among them, also do detail and world-building well, rendering the planet a mix of lush greenery and decaying human relics that equally appears as authentic as CGI can. Their biggest struggle: that there's so much to explore in this new Planet of the Apes beginning that not everything is told as gracefully and clearly as it could be, even across 145 minutes. As with almost everything that hits screens of late, this has been conceived as the catalyst for more to come — and it earns the enthusiasm to keep swinging.
Seeing the Wallabies test their mettle — on their own turf — against one of the Northern Hemisphere's best teams is always a huge occasion but things promise to be particularly spicy this time around. This will be the first time the Welsh team has visited our shores since 2012, and Australia will be out for revenge on Saturday, July 6 following a comprehensive defeat during a disappointing 2023 World Cup campaign. The Wallabies have replaced coach Eddie Jones with former Ireland head Joe Schmidt and will be looking to build up momentum given the Rugby World Cup will be taking place in Australia in only three years. The Wallabies' chances are looking good, too — Wales lost all of their matches in this year's Six Nations Championship and were saddled with the wooden spoon for the first time since 2003. Both teams are sleeping giants looking to start a new cycle, and you can watch it all unfold at Allianz Stadium on July 6. Images: Rugby Australia
In The Hunger Games and its sequels and prequels, a post-apocalyptic totalitarian state enforces order by murder, picking children via lottery to compete until just one remains standing. Before it reached pages and screens, The Running Man, Battle Royale and Series 7: The Contenders were among the stories that got there first, always with kill-or-be-killed contests at their cores. Now Boy Kills World enters the fray, but in a city ruled over by despot Van Der Koy matriarch Hilda (Famke Janssen, Locked In), with a group of candidates chosen annually, then slaughtered at big televised display that is The Culling no matter what. The titular Boy (played by the US Goodnight Mommy remake's Nicholas and Cameron Crovetti as a kid) is the rare exception: after witnessing his sister and mother's execution in this nightmarish realm, he's simply left for dead. Making his feature debut, director Moritz Mohr (TV's Viva Berlin!) holds tight to another big-screen staple: a revenge mission. As an adult, that the role of Boy falls to Bill Skarsgård fresh from John Wick: Chapter 4 says plenty. The vengeance that's always fuelled that Keanu Reeves (The Matrix Resurrections)-led franchise, and fellow influence Oldboy as well, mixes with cinema's wealth of fight-to-the-death tales. Also thrown in with the fervour of a fan mixing together his favourite things — which is Mohr's unapologetic approach from start to finish — is a colour scheme that Kill Bill also deployed, Deadpool-style humour and violence, notes cribbed from Matthew Vaughn's Kingsman movies and Argylle with its carnage, and nods to video games and Hong Kong action fare plus Looney Tunes and anime. Accordingly, the make-what-you-adore school of action filmmaking gets another spin with a first-time helmer in 2024, alongside Dev Patel's Monkey Man. Revelling in cartoonishness is unique to Mohr's flick, however — right down to enlisting H Jon Benjamin, aka the voice of Sterling Archer and Bob Belcher in Archer and Bob's Burgers, respectively, as Boy Kills World's narrator. He's Boy's voice, in fact. When we said that Skarsgård's casting says much, it has to; his steps into the red vest of a protagonist who is deaf and mute, and his is a physically expressive instead of vocal performance. Cue Benjamin to utter Boy's explanatory inner monologue, and cue the makings of a modern-day silent-film star in Skarsgård (his next part is a remake of silent classic Nosferatu by Robert Eggers, who directed his brother Alexander in The Northman, and it has the perfect lead if ditching dialogue like the OG movie was on the cards). As penned by Tyler Burton Smith (2019's Child's Play remake) and Arend Remmers (Oderbruch) — based on a story by Remmers and Mohr, and also a proof-of-concept short that helped the pair get iconic Evil Dead filmmaker Sam Raimi (Doctor Strange in the Multiverse of Madness) onboard as a producer — Boy Kills World's script is as busy as the movie's list of influences. Mostly, it's packed with characters, and mainly with adversaries for Boy to smash, crash and bash his way through. After experiencing the life-changing trauma of losing his kin at such a young age, he gets set on his course for retaliation by training in the forest with the Shaman (and yes, that The Raid, The Raid 2 and John Wick: Chapter 3 — Parabellum's Yayan Ruhian is in the role is also telling about Mohr's inspirations). Boy is primed for clash after clash (after clash after clash), then, as his campaign for eye-for-an-eye retribution kicks into gear. Michelle Dockery (Downton Abbey: A New Era) as Hilda's sister Melanie, Sharlto Copley (who was also in Monkey Man) as Melanie's husband Glen, Jessica Rothe (the Happy Death Day franchise) as family enforcer June27: they're all in Boy's way. By his side, he has a hallucination of his sister Mina (Punky Brewster), as well as resistance fighter Basho (Andrew Koji, Warrior) in the flesh. A knack for casting also pumps through Boy Kills World beyond its star, but this is always Skarsgård's show. Bill kills. He's traversed dystopias before in Allegiant, grappled with the complexities of a ruling class in Anna Karenina, been immersed in a single-minded mission in Atomic Blonde, given the Deadpool vibe a spin in Deadpool 2, and conveyed everything through his eyes as IT and IT: Chapter Two's Pennywise — and, sporting an action-star physique, he's a find-someone-who-can-do-it-all lead as Boy. If you need an actor to play a literally silent-type hero and play the hell out of it, Skarsgård is clearly your man. Three questions linger at the heart of Mohr's film, though, two within the storyline and themes, and one for audiences. The first: what makes the action archetype at Boy Kills World's centre truly tick? The second: in a bloodthirsty crusade for reprisals, what's genuinely right and what's wrong? And the third: although this is an impressively choreographed affair that values stunts as much as The Fall Guy (Black Widow and Kingsman: The Golden Circle alum Dawid Szatarski is responsible for the flick's spectacle as its action director and designer, and also fight co-ordinator), would its genre mashup work without Skarsgård's magnetism? The initial pair of queries are thought starters rather than inquiries that receive a firm answer; they're Boy Kills World's efforts to note that revenge tales and their unspeaking protagonists could use some unpacking. The third question, unsurprisingly, earns a hearty no. Skarsgård gives Boy Kills World its strongest element, and leaves it with a calling card as both an action force and a silent wonder. Mohr ends the feature with his own as an enthusiastic filmmaker giving his all to a highly stylised and slapstick love letter. And for viewers? The quippy humour is spotty, as is the relentlessly frenetic cinematography (by Dark Satellites' Peter Matjasko) that can swing from feverish to exhausting — and, while jam-packed, the film feels its 111-minute length. Still, being entertained by the sheer delirious display of it all, with the picture's B-movie energy, love of gore and unwillingness to hold back, is as easy as inserting coins into an arcade machine.
Tennis is a game of serves, shots, slices and smashes, and also of approaches, backhands, rallies and volleys. Challengers is a film of each, too, plus a movie about tennis. As it follows a love triangle that charts a path so back and forth that its ins and outs could be carved by a ball being hit around on the court, it's a picture that takes its aesthetic, thematic and emotional approach from the sport that its trio of protagonists are obsessed with as well. Tennis is everything to Tashi Duncan (Zendaya, Dune: Part Two), Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera), other than the threesome themselves being everything to each other. It's a stroke of genius to fashion the feature about them around the game they adore, then. Metaphors comparing life with a pastime are easy to coin. Movies that build such a juxtaposition into their fabric are far harder to craft. But it's been true of Luca Guadagnino for decades: he's a craftsman. Jumping from one Dune franchise lead to another, after doing Call Me By Your Name and Bones and All with Timothée Chalamet, Guadagnino proves something else accurate that's been his cinematic baseline: he's infatuated with the cinema of yearning. Among his features so far, only in Bones and All was the hunger for connection literal. The Italian director didn't deliver cannibalism in Call Me By Your Name and doesn't in Challengers, but longing is the strongest flavour in all three, and prominent across the filmmaker's Suspiria, A Bigger Splash and I Am Love also. So, combine the idea of styling a movie around a tennis match — one spans its entire duration, in fact — with a lusty love triangle, romantic cravings and three players at the top of their field, then this is the sublime end product. Challengers is so smartly constructed, so well thought-out down to every meticulous detail, so sensual and seductive, and so on point in conveying Tashi plus Art and Patrick's feelings, that it's instantly one of Guadagnino's grand slams. In 2019, the picture's present day — a choice that enables Challengers to avoid everything pandemic-related — Art and Patrick go racquet to racquet in New Rochelle, New York. Pinging in-between their on-the-court confrontation, after they progress through the tournament on opposite sides to clash in the final, are flashes to moments from 2006 onwards. It was in that year, as teen doubles partners known as "Fire and Ice" (and best friends, and childhood tennis academy roommates), that the pair met Tashi. She's as confident when she's not standing on a green surface as she is on it, and on it she's an undoubtable prodigy. They're both immediately attracted to her. They each ask for her number at the same party while all three are together. In Challengers' later timing, however, Art is her husband and Patrick her ex-boyfriend. Art has also enjoyed almost every success that a tennis player can hope for, other than winning the US Open. Completing his career slam is his aim, with the New Rochelle contest about getting him back into form to stop a losing streak. Patrick has to sleep in his car to make the fixture; for him, earning a wildcard to the bigger dance and a chance at the kind of glory his former pal has long been basking in is the mission. The duo hasn't talked in years. The reason: a falling out about matters of the heart. But Challengers doesn't simplistically have its two men battle it out for Tashi as a prize, even when she promises a date to whoever wins their first game against — not with — each other in the mid-00s segments. Tashi is a force to be reckoned with. She'd never let herself become a trophy. Her career is cut short due to injury, sparking a move into coaching Art, and she's as ferocious and strategic there — and in their marriage — as she was when pursuing her own tennis fame. Then there's the inescapable bond between Art and Patrick anyway; Tashi's home-wrecker comments about sliding into the middle of their relationship aren't empty in Guadagnino's hands, whether a three-way kiss or loaded words are being exchanged. The director works with the first feature script by playwright, novelist and screenwriter Justin Kuritzkes — and it's no wonder that authenticity beats at the heart of this deeply sultry, raw and evocative (and horny) movie. While this isn't a tale taken from actuality, Kuritzkes is the husband of filmmaker Celine Song, whose Oscar-nominated 2023 debut Past Lives not only leapt into another complicated love triangle but was loosely drawn from her own experiences. The two movies are playing different games, though, yet share the same richness of chemistry, lingering sexual tension, and understanding of how burning love and pining to be seen are life-shaping and -changing sensations. They're each so precisely helmed in their vastly dissimilar ways that they're works of art, and so expertly cast that their stars will always rank the respective flicks as career and performance highlights. Continuing the trend of Spider-Man love interests giving tennis films a whirl (see: Civil War's Kirsten Dunst with Wimbledon, then Poor Things' Emma Stone with Battle of the Sexes), Zendaya doesn't just make Tashi formidable and unforgettable; her portrayal, which is one of her best ever alongside Euphoria, firmly matches. Neither the movie nor its leading lady polish over the character's fierceness and ruthlessness when it comes to her passion, instead exploring what's behind her intensity from the outset: being a Black star who isn't from a comfortable background in a world that's all about whiteness and privilege. She's magnetic to viewers, and to Art and Patrick, who are brought to the screen with romanticism and vulnerability by Faist, and with spirited but comfortable charm by O'Connor. Challengers loiters at the net, where two sides are pushed together — not as any balls bounce through the bouts depicted, but in unpacking every pairing that can be made from its main trio, racial and economic divides that definte their realities, and the thin line that can become a vast chasm regarding genuinely grasping your dreams versus forever chasing them. As it hops and rushes about — including between time periods, characters, games and romances — Challengers zips and zings, and lunges and thrusts. Guadagnino's knack for immersion keeps working up the bracket film by film, to hypnotic effect here. There's no Uncle Boonmee Who Can Recall His Past Lives or Memoria dreaminess to cinematographer Sayombhu Mukdeeprom's lensing, but the same crispness, as seen in his work on Call Me By Your Name and Suspiria as well, remains. New for Challengers is the dynamism of the sports scenes, and of switching from character to ball vantages, each absorbing visual choices. Marco Costa, who returns from Bones and All, edits just as energetically. And amid songs by Donna Summer, Lily Allen and Nelly, Trent Reznor and Atticus Ross' second Guadagnino score, also after Bones and All, is an adrenaline-dripping disco and electronica whirlwind that couldn't better set and reflect the propulsive mood. Talk about an all-round ace.
What better way is there to beat the Sunday scaries than with a couple of cold beers surrounded by adorable greyhounds? Yulli's Brews is facilitating a greyhound-filled afternoon at its Alexandria brewery on Sunday, April 16 to raise money for Greyhound Rescue and encourage adoption of some four-legged pals. Adoption and Ales will run from 1–6pm, with the local independent beer-maker's full range of beers pouring, the grill firing in the kitchen and a friendly group of hounds from Greyhound Rescue hanging out in the brewery. Yulli's is setting up a karma keg on the day which will be raising money to help re-home pups in need. You can just head in and enjoy a beer, mingle with the dogs, chat with the volunteers about info on greyhound adoption, or start the application process on the spot. Anyone who does apply on the day will receive a free LickiMat Enrichment Kit for their new greyhound to enjoy. Plus, other dogs are welcome to come along and join in on the fun.
When you're a film festival that's all about the best cinema from Spain and Latin America, and you've been showcasing flicks from the two regions for a quarter century, how do you mark the occasion? If you're Australia's annual Spanish Film Festival, you put together a hefty 25th-birthday festival filled with 32 movies. That's the just-announced plan for 2023's event, which will take over the screens at Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema in Sydney from Tuesday, June 20–Wednesday, July 12 — complete with Spanish box-office hits, stars from beloved series, a focus on female directors and plenty more. Kicking off the fest is the Australian premiere of culinary comedy Two Many Chefs, which follows a father-and-son pair reuniting in the high-cuisine scene in Bilbao. Also a high-profile must-see is the festival's centrepiece selection Alcarràs, the winner of the Berlin Film Festival's Golden Bear in 2022. It popped up at a few local fests last year, and is now finally being made available to a wider Aussie audience. Other highlights include five-time Goya Award-winner Prison 77, a smash in its homeland starring Miguel Herrán from Netflix's Money Heist; The Kings of the World, which focuses on five Medellín teenagers; and Four's a Crowd, the latest from The Bar, Witching and Bitching and As Luck Would Have It filmmaker Álex de la Iglesia. Plus, there's thriller A Singular Crime, about a wealthy businessman's disappearance in Argentina in the 80s — and Staring at Strangers, where The Unbearable Weight of Massive Talent's Paco León spies on a family from inside a closet (and yes, sounds like it takes its cues from Parasite). Film lovers can also look forward to rom-com My Father's Mexican Wedding, about two Spanish siblings travelling abroad for the titular nuptials; Mighty Victoria, which sees residents of a small town try to build their own steam train in 1930s Mexico; black-and-white horror film History of the Occult; and feminist Argentinian western The Broken Land. The 2022 fest boasts an Australian link as well via Greg Mortimer, about the passengers and crew on the Australian cruise ship that left for Antarctica just prior to the COVID-19 pandemic being declared. And, the Spanish Film Festival's survey of prominent Spanish and Latin American women directors includes seven movies, while its five-title 2023 retrospective is dedicated to iconic Spanish filmmaker Carlos Saura, who passed away earlier in 2023.
If you haven't had the opportunity to visit BrewDog's massive South Eveleigh beer bar, a long weekend full of cheap beers might be just what you need to twist your arm. The 910-capacity venue — one of our favourite dog-friendly bars in Sydney — is staying open every day of the Easter long weekend and sweetening the deal with a bumper happy hour. Every day between Monday, April 3–Monday, April 10 you can get pints for schooner prices for two hours. The Tappy Hour promotion runs on the bar's core beer range from 2–4pm across the eight days. That includes the BrewDog Pale Ale and IPA, the Lost Larger, the Hazey Jane, the Punk XPA, the citrusy Elvis Juice and the Brownsnake Ginger Beer — all for up to $4.80 off per pint. There will also be free bar snacks available throughout the week. Plus BrewDog's usual deals will be in full swing, including all-you-can-eat chicken and cauliflower wings for $25 on Wednesday and two-for-one vegan mains on Easter Monday.
Baba's Place has been doing pop-ups and special one-off events for a while — before the team even found its home in Marrickville. The Baba's Place story started with collaborations at beloved inner-west venues like Rolling Penny and Bush, and since opening a permanent restaurant last year, the team has hosted a range of events from art exhibitions to Baltic wine nights. On Sunday, July 26, Baba and co are celebrating Georgian khachapuri with the help of Melbourne's Gray & Gray Food and Wine. The Khachapuri Street Party will be happening from midday until 4pm on the Sunday, with plenty of Georgian eats, wine and music. Khachapuri is a form of wood-fired bread often filled with cheese and egg. There will be four variants of the doughy treats on offer: the Adjaruli filled with three cheese, egg yolk and NSW truffles; the Kharcho Dream boat featuring beef gravy, parmesan cream, pickled onion and red adjika; the Flaky Meskhetian packed with Baba's specialty fetta, mushroom and onion; plus the Gurian Sunrise with potato, cheese, roasted garlic, spring onion and egg. Entry is free, just head down and nab yourself a hearty weekend lunch and a glass of wine.
Stop us when Lost Illusions no longer sounds familiar. You won't; it won't, either. Stop us when its 19th century-set and -penned narrative no longer feels so relevant to life today that you can easily spot parts of it all around you. Again, that won't happen. When the handsome and involving French drama begins, its protagonist knows what he wants to do with his days, and also who he loves. Quickly, however, he learns that taking a big leap doesn't always pan out if you don't hail from wealth. He makes another jump anyway, out of necessity. He gives a new line of work a try, finds new friends and gets immersed in a different world. Alas, appearances just keep meaning everything in his job, and in society in general. Indeed, rare is the person who doesn't get swept up, who dares to swim against the flow, or who realises they might be sinking rather than floating. The person weathering all of the above is Lucien Chardon (Benjamin Voisin, Summer of 85), who'd prefer to be known as Lucien de Rubempré — his mother's aristocratic maiden name. It's 1821, and he's a poet and printer's assistant in the province of Angoulême when the film begins. He's also having an affair with married socialite Louise de Bargeton (Cécile de France, The French Dispatch), following her to Paris, but their bliss is soon shattered. That's why he gives journalism a try after meeting the equally ambitious Etienne Lousteau (Vincent Lacoste, Irma Vep), then taking up the offer of a tabloid gig after failing to get his poetry published. Lucien climbs up the ranks quickly, both in the scathing newspaper business — where literary criticism is literally cash for comment — and in the right Parisian circles. But even when he doesn't realise it, his new life weighs him down heavily. Lost Illusions spins a giddy tale, but not a happy one. It can't do the latter; exactly why is right there in the title. As a film, it unfurls as a ravishing and intoxicating drama that's deeply funny, moving and astute — one that's clearly the product of very particular set of skills. No, Liam Neeson's recent on-screen resume doesn't factor into it, not for a second. Instead, it takes an immensely special talent to spin a story like this, where every moment is so perceptive and each piece of minutiae echoes so resoundingly. The prowess behind this seven-time César Award-winner belongs to three people: acclaimed novelist Honoré de Balzac, who wrote the three-part Illusions perdues almost 200 years ago; filmmaker Xavier Giannoli (Marguerite), who so entrancingly adapts and directs; and Jacques Fieschi (Lovers), who co-scripts with the latter. There's more to Lucien's story — pages upon pages more, where his tale began; 149 minutes in total, as his ups and downs now play out on the screen. When Louise decides that he doesn't fit in, with help from the scheming Marquise d'Espard (Jeanne Balibar, Memoria), spite rains his way. When Etienne introduces him to the realities of the media at the era, and with relish, he's brought into a dizzying whirlwind of corruption, arrogance, fame, power, money and influence. When Lucien starts buying into everything he's sold about the whys and hows of his new profession, and the spoils that come with it, Lost Illusions couldn't be more of a cautionary tale. Everything has a price: the glowing words he gleefully types, the nasty takedowns of other people's rivals and the entire act of spending his days doing such bidding for the highest fee. Balzac's text was of its time — albeit savagely so — and also ahead of its time. Or, you could say that the years and technologies have changed since the 1800s, obviously, but human nature hasn't. Giannoli and Fieschi intentionally tease out Lost Illusions' still-relevant and even prescient notions, of course, and the result is a movie that looks rich and period-appropriate in every frame, and yet also feels timeless. Part of that sensation stems from the verve with which Giannoli helms, even with his feature sprawling across such a lengthy duration. Like Lucien when he naively thinks that his dreams are achievable in the film's first act, or when he later eagerly laps up the benefits of his choices — despite fellow writer Nathan d'Anastazio's (Xavier Dolan, IT: Chapter Two) attempts to warn him otherwise, and as his decisions start to impact his new girlfriend Coralie (Salome Dewaels, Working Girls), an actress — Lost Illusions has a spring, bounce and dance in its step. Yes, that's Xavier Dolan, director of Heartbeats, Laurence Anyways, Tom at the Farm, Mommy and more, in a tremendous supporting role as one of Lucien's rivals. Giannoli gets the very best out of his supporting cast, including the always-welcome Lacoste, his Irma Vep co-star Balibar and the ever-reliable de France. But, as wonderful as each proves, none are tasked with conveying exactly what the movie's moniker exclaims. When viewers meet Nathan, Etienne, the Marquise and Louise, none have many illusions to lose. Voisin, with eyes that gleam so brightly when Lucien is praised for his poems in his provincial home town, is saddled with seeing fantasies crash, morals twist, hopes wither and hard truths set in. He has to express Lucien's growing lust for status, too, as well as his increasing willingness to shrug off the ramifications. It's a thorny part, and a consummate performance. While Voisin was also superb in Summer of 85, he's even better here. Lost Illusions has much to say about heads filled with dreams; about quests to become the hero of one's own narrative; about the forces, such as cynicism, cash, class structures and an obsession with how everything looks, that trample earnestness and sincerity. It enlists narration to help voice it, but the intricate imagery lensed by cinematographer Christophe Beaucarne (Hold Me Tight) utters plenty anyway. Although almost everything glitters and appears exquisitely golden, little is beyond aesthetics. This is a film where opinions are bought, and not just in print. Paying for boos at theatre shows, including the more sensationalistic productions on "the boulevard of crime", is so commonplace that no one questions it. Lost Illusions itself wouldn't ever need the same tactics IRL, but this movie exists in a world where nothing it explores seems fanciful, farcical, an imagining of fiction or a relic of history. If viewers had any illusions otherwise, prepare to lose them in this sumptuous and savvy picture.
If you're looking for a chance to step back and unwind, beloved Sydney gallery the Museum of Contemporary Art (MCA) is hosting free weekly wellbeing sessions. Art Flow offers you the opportunity to take an extended lunch break on a Thursday to soak in some creative R&R, or begin your weekend with a dose of art and relaxation. Art Flow consists of 45-minute sessions running between 10.15am and 12.15pm Thursdays and Saturdays. The program is open to everyone over the age of 18 and invites participants to take 45 minutes to contemplate art and mindfulness. Each week there are four sessions, two on the Thursday and two on the Saturday, with a different artwork at the centre of the experience each week. The first four artworks will be Angela Tiatia's Lick, Elizabeth Mipilanggurr's Bamagora (conical pandanus palm mat), Nicholas Mangan's A World undone, and Khadim Ali's The Haunted Lotus. "The Museum of Contemporary Art Australia is excited to launch this new program, created in response to these post- Covid times, where connection and wellbeing are more important than ever," MCA Director of Audience Engagement Gill Nicol says. "Being with art can help reduce stress and be a powerful source of wellbeing." Entry is free but if you want to ensure you've got a spot, head to the MCA website. [caption id="attachment_750113" align="alignnone" width="1920"] Liam Cameron[/caption] Top image: Art Flow: a wellbeing experience, MCA, 2022. Photograph: Anna Hay
In the dying days of 2019, Camp Cope's valiant leader Georgia Maq released the raw and vulnerable solo album Pleaser. The album continues the deeply personal lyrics of many of Camp Cope's best songs, but trades shredding guitars and plucky bass lines for more synthesisers. Since its release, Maq has been booked to perform the album at Vivid for its past two iterations, before the festival was ultimately cancelled both times. Finally, at Vivid's grand return in 2022, she'll be taking to the Sydney Opera House's Utzon Room to perform tracks from Pleaser as well as her biting new single 'Joe Rogan' about a toxic guy she dated. The show will mark Georgia Maq's return to the Sydney Opera House for the first time since Camp Cope's headline show in 2019 and their back-to-back sold-out shows as part of Vivid 2017. Top image: Jo Duck
During Vivid, three local party-starting collectives are pulling together killer dance music lineups for a series of studio parties. Local independent record label Future Classic has helped foster some of the country's most beloved dance music acts and some of our biggest musical exports. Acts like Flume, Flight Facilities, Ta-ku, G Flip and Methyl Ethel have all come through with support from the label. As part of the Sydney Opera House's Vivid Live lineup, Future Classic is throwing one of their renowned parties inside the iconic Circular Quay venue. This time around the night will be headed up from a set by resident bass-loving Pizza Guy Touch Sensitive, alongside appearances from Tseba, Ayebatonye and Deepa. Inner West DJ crew Mad Racket will also be jumping in on the action with a lineup featuring Ken Cloud, Simon Caldwell and Natalie Slade. While the final two parties are courtesy of Astral People — with an all-night-long set from Barcelona's John Talbot — and Picnic, who have enlisted Wax'O Paradiso, Adi Toohey, Kali, Evie and Hyfe. Each event kicks off around 9pm and will stretch until the early hours of the morning, with music blaring past 2am. https://www.youtube.com/watch?v=16psgxa-OR8 Top image: Jordan Munns
On Saturday, May 21 Australia will head to the polls as Prime Minister Scott Morrison and Opposition Leader Anthony Albanese face off. Newly opened bar and restaurant The Bob Hawke Beer & Leisure Centre will be hosting an Election Day party for anyone looking to get into the spirit of things with a beer in hand. Named for former Labour leader and Prime Minister Bob Hawke, the Marrickville venue was opened at the beginning of 2022 by local brewery Hawke's inside of its inner west brewery. On election day the bar will have the full Hawke's range on offer to sample, and will be showing the election coverage live on the venue's big screen. There will also be two tip jars on the bar throughout the day — one for Albo and one for Scomo — where patrons can vote with their spare change. Swing by after heading to the polling station for a quick beer, or stick around later into the night until the election's winner is announced. If things get too intense during the day, you can also head to the leisure centre for a round of pool and peruse the countless memorabilia the venue exhibits. And, the brewery's 80s-inspired Chinese bistro The Lucky Prawn will be open so you can order yourself a hefty serving of honey king prawn, XO pippies and deep fried Viennetta.
Each weekend Sydney is filled with markets. It's a local favourite activity for a Saturday morning. But this weekend, a special one-off fruit and flee market is popping up in Darlinghurst filled with artisan goods from a group of local independent creatives, curated by everyone's favourite fruit-shaped candle-maker Nonna's Grocer. For the uninitiated Nonna's Grocer creates hyper-realistic candles shaped like fruit and vegetables ranging from humble oranges and lemons through to custard apples and heirloom tomatoes. The market will be going down at Abstract Thoughts Gallery, the new exhibition and creative space located next to Cafe Freda's. You can expect a wide variety of goods including Noona's famous candles, flowers, lube, jewellery, condiments and a wide range of homewares from brands and creatives such as Sophia Kaplan, Sake Sake, Condimental, Tabitha Hope and Cafe Freda's themselves, just to name a few. Popping up at the gallery space from 3–8pm on Saturday, May 21 and Sunday, May 22, you'll be able to browse your way through the market before heading next door to grab a cocktail, natural wine or something to eat. For all the information and brands taking part, head to the Nonna's Grocer Instagram account. [caption id="attachment_707077" align="alignnone" width="1920"] Condimental[/caption]
American Express has pulled together a killer lineup for the ultimate live music bar crawl happening throughout Surry Hills and Darlinghurst on Sunday, May 29. The new initiative, Back the Night, will see a selection of beloved venues, bars and restaurants hosting live sets from a huge roster of local music talent performing some of their most intimate gigs to date. The night is being headlined by Gang of Youths who are trading in the country's festival main stages and arenas for underground live music hub Oxford Art Factory. Coming off the band's latest standout album Angel in Realtime, the gig will mark their first show back in their hometown since 2019. The always-popular five-piece will be bringing their high-energy live show to the OAF at the very reasonable Sunday time of 7.30pm. In the lead-up, ticketholders of Back the Night can catch the likes of Boy & Bear, Alex Lahey, Odette, Didirri, Imbi, Jess Kent and Maple Glider popping up around the city. While the likes of Lahey, Kent and Maple Glider can be found at more traditional venues Hyde Park House and The Columbian, Didirri will be performing with Cap Carter at Stanley Street Italian restaurant Bill & Toni's, and Boy & Bear will be making their appearance around the corner at American barbecue joint Surly's American Tavern. All the venues taking part in the night are within a 15-minute walking radius of each other, meaning you can mosey around the inner-city suburbs, catching whichever bands you please. Tickets are $70 and grant you access to all of the different venues. Head to the AMEX website to see the full lineup and set times. [caption id="attachment_655350" align="alignnone" width="1920"] Bill & Toni's, Kimberly Low[/caption] Top image: Andre&Dominqiue via Destination NSW
Across its 12-season order to-date, the best episodes of Bob's Burgers have always resembled exactly what they should: a delicious serving of the meat-and-bread combination that shares the hit sitcom's name. There's a knack to a great burg — to a tastebud-thrilling, so-appetising-I-need-more-now example of this extremely accessible culinary art — and it's all about perfecting the absolute basics. No matter what else gets slotted in (and plenty of other ingredients can), every burger's staples should be the stars of the show. Indeed, a top-notch burg needn't be flashy. It definitely mustn't be overcomplicated, either. And, crucially, it should taste as comforting as wrapping your hands around its buns feels. On the small screen since 2011, Bob's Burgers has kept its version of that very recipe close to its animated, irreverent, gleefully offbeat heart. Unsurprisingly, the show's creators whip up the same kind of dish for The Bob's Burgers Movie, too. It's a winning formula, and creator Loren Bouchard knows not to mess with it while taking his beloved characters to the big screen. Co-helming with the series' frequent supervising director Bernard Derriman, and co-writing with long-running producer Nora Smith, he experiments here and there — in filmic form, Bob's Burgers is a tad darker, for instance — but he also knows what keeps his customers a-coming. That'd be the goofy but extremely relatable Belcher clan, their everyday joys and struggles, and the cosy little world that sprawls around their yellow-hued Ocean Avenue burger joint up the road from seaside fairground Wonder Wharf. Bouchard also knows that if you make something well enough time after time — be it a burger or a TV show that's spawned a movie; both fit — it'll be warmly, reliably and welcomingly familiar rather than just another helping of the same old nosh. With that in mind, it's a compliment to say that The Bob's Burgers Movie could've easily stayed on television, slotting in among the 238 episodes that precede it — but longer. Vitally, however, it doesn't ever simply feel like a few TV episodes simmered together. That can be the television-to-film curse, as Downton Abbey: A New Era demonstrated recently. Thankfully, as The Simpsons Movie and all three SpongeBob SquarePants films so far have also achieved, that isn't the case here. Instead, this super-sized stint in the Belcher family's company sports as much care, attention to detail, plot, gags, character-building moments, in-jokes, puns and musical numbers as a 102-minute portion of Bob's Burgers needs. It features the same colourful animation that works such a treat on TV, with added shadows for a cinematic feel, plus the lively voice acting that's the heart and soul of the show — but it's its own meal, and never merely four servings of fries passed off as something more substantial. As always, the action centres on the film's namesake — the diner where patriarch Bob (H Jon Benjamin, Archer) sizzles up punningly named burgs to both make a living and live out his dream. And, as the show has covered frequently, financial woes mean that Bob and his wife Linda (John Roberts, Gravity Falls) have more to worry about than cooking, serving customers, and their kids Tina (Dan Mintz, Veep), Gene (Eugene Mirman, Flight of the Conchords) and Louise (Kristen Schaal, What We Do in the Shadows). Their solution: a burger, of course. But their bank manager isn't munching when they try to use food to grease their pleas for an extension on their loan. That mortgage also involves their restaurant equipment, leaving them out of business if they can't pay up. As their seven-day time limit to stump up the cash ticks by, Bob sweats over the grill and Linda oozes her usual optimism — only for a sinkhole to form literally at their door. As trusty as Bob's Burgers gets, and still refreshingly committed to depicting the daily reality of its working-class characters, that above setup is the movie's buns. Layered inside are tomato, lettuce, cheese, pickle and beetroot, aka the narrative's well-balanced fillings. First comes a murder-mystery ensnaring the Belchers' eccentric landlord Calvin Fischoeder (Kevin Kline, Beauty and the Beast) and his brother Felix (Zach Galifianakis, Ron's Gone Wrong). Springing from there is Louise's determination to solve the crime to save the diner and prove she isn't a baby just because she wears a pink rabbit-eared hat. Then there's Tina's quest to make her crush Jimmy Jr (also voiced by Benjamin) her summer boyfriend; Gene's need to get The Itty Bitty Ditty Committee, the family band, a gig at Wonder Wharf's Octa-Wharfiversary celebrations; and Bob and Linda's attempt to sell burgs at the amusement park using a barbecue on wheels MacGyvered up by number-one customer Teddy (Larry Murphy, The Venture Bros). Meat-slinging, killer-hunting, carnival-frolicking mania and mayhem is the name of the game — dripping one-liners and puns, too, including the obligatory next-door store gag ("Sew You Think You Can Pants" is the film's offering) — and it all makes the leap to cinemas with well-oiled ease. So does the non-stop onslaught of quick gags, verbal and sight included; the extravagant musical numbers and action-flick-esque setpieces, which are all gorgeously choreographed even though they're animated; and the always-loose vibe that can entertainingly feel like the voice cast are just riffing. And, while it might've felt gratuitous, Bouchard and company's efforts to find space for plenty of the series' motley crew of neighbours and other supporting players is as natural as dipping chips in whatever sauce takes your fancy. Also part of this animated gem: robot aliens who hate music, a village inhabited by Wonder Wharf workers called Carnieapolis, fantasy horse rides, creepy skeletons and an underground lair that Wes Anderson could've dreamt up. And, obviously, the overflowing affection for its oddball family that's always made all things Bob's Burgers as engaging as it is firmly remains on the menu as well — as eagerly sprinkled with fondness for the Belchers' many quirks, their routine woes, and their daily efforts to just get by, be happy, love each other and enjoy their modest existence. Without that, The Bob's Burgers Movie would've just been any old film. With it, it's exactly what viewers have adored for over a decade. This show doesn't need to be your regular dish to fall for its charms, though. Whether it's your first bite or your 239th, it's a delight.
Chiswick has long been a staple in the Sydney culinary scene — for ten years, in fact. So, from Friday, May 6, Chiswick will be marking that milestone with a month-long celebration. There's plenty to celebrate. As well as being known for its picture-perfect grounds, Chiswick is home to one of Sydney's only kitchen gardens with produce grown on site — which means that it serves up a seasonal menu that exudes a welcome balance of innovative fine dining and a warm sense of homeliness. Unsurprisingly, it has quickly found itself at the heart of the Woollahra community as a result. Creator Matt Moran and his team are releasing a digital recipe book to commemorate the big birthday, and also doing special-edition Providoor boxes. But if you're keen to head in, you'll find the venue looking even more stunning thanks to Sydney floral design studios Wilder and Hermetica, which'll both be styling some large-scale elaborate works. And, then there's the birthday menu, which will continue to echo Chiswick's planted-to-plated philosophy. Moran has collaborated with newly appointed Head Chef Taylor Cullen to create a lineup that honours Chiswick's signature dishes and gives diners a peek into what the next ten years might have in store. Expect bara-masalata with flatbread, grilled peppers with harissa, and butterflied trout with roe and Chiswick garden herb dressing — plus slow-roasted lamb with hummus, tabouli and mint salsa, and a fig and macadamia bombe alaska to finish things off. Price-wise, Chiswick's tenth birthday collective menu will set you back $90 per person. Top image: Steven Woodburn.
If you're a fan of psych rock or you're looking for a night of top tunes and some free beers, listen up. Beloved Sydney brewery Yulli's is hosting a showcase of top-notch Australian psych bands from 7pm on Friday, May 6. Pysch rock has had an explosion in popularity over the past decade here in Australia thanks to the likes of world-conquering psychedelic bands like Tame Impala, King Gizzard and the Lizard Wizard and Pond, as well as exciting local bands like Fascinator and The Lazy Eyes. Yulli's has pulled together a lineup of four exciting young bands putting out colourful psych tunes to perform on the night. On the lineup: Pasiflorez, Fungas, Silky Red and Memory Motel. The four bands will each take to the stage between 7 and 9pm, meaning you can pack in some live music early into your Friday night. Those that get down promptly will also be treated to some of Yulli's renowned brews, with free food and beers being given out to the first 50 patrons through the door.
Rarely seen and utterly breathtaking, the ambitious contemporary ballet Kunstkamer has arrived in Sydney for a two-week run of performances by The Australian Ballet. Created by pioneering Dutch dance company Nederlands Dan Theater (NDT), this ballet had never been performed by another theatre company until the Australian premiere at the Sydney Opera House on Friday, April 29. The work of NDT House Choreographers Sol León and Paul Lightfoot, and Associate Choreographers Marco Goecke and Crystal Pite, Kunstkamer is a jagged and boundary-pushing two-part ballet that draws its inspiration from the 1734 book The Cabinet of Natural Curiosities by Dutch pharmacist, zoologist and collector Albertus Seba. The Australian Ballet Artistic Director David Hallberg calls this ballet "truly an immersive experience" and has even come out of retirement to perform as part of the run of shows. "Sol León, who's one of the four choreographers, asked me to come on board in this role," Hallberg said. "It took a little enticing because obviously I have said goodbye to the stage and I wasn't looking for opportunities to return to the stage, but I found that in this role, in this experience, in this opportunity with the dancers, in this work, it was the right time." Two dancers will perform Hallberg's part for the remainder of the Sydney shows, before he returns to the stage once more for the Melbourne premiere next month. Hallberg is not the only special guest dancer to be taking part in The Australian Ballet's Kunstkamer. The ensemble has also been joined by NDT member Jorge Nozal, who is reprising his role from the 2019 world premiere season in the Netherlands for the full run of shows down under. "Jorge is the first guest artist of my directorship, and I am really excited that it will be someone unexpected for the audience and enriching for the company," proclaimed Hallberg. "Jorge is admired by our dancers and artistic team and I am thrilled to have the opportunity to introduce him to our audience, alongside the dancers of The Australian Ballet, in the role that was created for him by Sol León." You can catch the performance at the Sydney Opera House until Saturday, May 14 before it moves onto the Arts Centre Melbourne for a run of shows between Friday, June 3 and Saturday, June 11. [caption id="attachment_852138" align="alignnone" width="1920"] Prudence Upton[/caption] Top image: Daniel Boud
Erskineville's Imperial Hotel is a favourite among many, with props sure to go to its thrilling dining events (which bring dazzling queens to the stage for super-charged performances alongside a fantastic feed). So, you'll be excited to learn American Express delicious. Month Out is bringing a special one-night only Drag 'N' Dine extravaganza to the inner west local. The dress code? Fabulous. On Thursday, May 5, you and your friends can enjoy a stand-out plant-powered dinner — hosted by Khanh Ong — while you're serenaded and titillated by stellar drag performers. And, if you're an American Express Card Member, you can nab 15 percent off your ticket right up until the day before (just use your Australian-issued American Express Card when securing your tickets through Resy). Tickets are $89 and include a cocktail on arrival, a delicious set menu and a drag production with all the razzle dazzle. With two seatings on offer — 6pm and 8.30pm — it's the perfect opportunity to get raunchy at the dinner table. Ready for a night of spectacular performances and irresistible food? Book yourself a table at The Imperial Hotel's Drag 'N' Dine presented by American Express delicious. Month Out. For more information and to book, visit the website.
It's been 12 years since Inception melted our brains with dreams within dreams within dreams — and El Camino Cantina might've just come up with the margarita equivalent. Already known for its wild marg flavours, and for turning other beloved foodstuffs into frosty 'ritas, it's now swirling its latest batch of varieties together. So you might be sipping an ice block within a margarita within a swirled cocktail, for instance. First, the flavours. Calippos and pine lime splices aren't just for eating now, with El Camino's calypso crush and pine lime Splice varieties interpreting the beloved icy treats. Or, there's also mango strawberry, watermelon mint, and both lychee colada and lychee lagoon. Yes, lychees feature in a big way. Available from Tuesday, February 1–Monday, February 28, this whole margarita special is called Summer of Swirls, and costs $20 for a 15-oz glass, $24 for the 20-oz size and $35 for a tasting paddle of four 220-millilitre glasses. In Sydney, you'll find them quenching your summer thirst at El Camino in The Rocks, Entertainment Quarter, Manly and Miranda.
There's nothing quite like a true story, whether it's a wild, chaotic, so-strange-it-can-only-be-true kind of tale or an informative, eye-opening yarn. That's Antenna Documentary Film Festival's cinematic bread and butter, with the Sydney-based event rolling out a new lineup of factual flicks for ten fests now — and it's celebrating hitting that big milestone with an impressive 2022 program. When the festival returns from Wednesday, February 2–Sunday, February 13 — hitting up Dendy Newtown, Palace Chauvel, Palace Verona, MCA Australia and Powerhouse Museum — it'll do so with a lineup of 50 features and shorts, as well as a day-long industry chat about the medium. The big highlight is all those feature-length docos, of course, including the 13 movies in the fest's official competition. Among the titles competing for the event's $10,000 prize, Charm Circle serves up a portrait of eccentric New York family navigating and has been likened to Grey Gardens — and also opens the festival. In terms of other competition standouts, it's joined by homegrown effort The Lake of Scars, which heads to regional Victoria; Courage, which explores the protests against the 2020 Belarus presidential election; and The Bubble, which ventures to a Florida retirement home with 155,000 retirees, 54 golf courses and 70 swimming pools. Or, elsewhere throughout the program, Jagged dives into Alanis Morissette's career; The Real Charlie Chaplin uses audio recordings, reconstructions and personal archival materials to traces Charlie Chaplin's Hollywood stardom; Sisters with Transistors celebrates pioneering women in the electronic music scene; and The Most Beautiful Boy in the World unfurls the story of Death in Venice actor Björn Andrésen, who earned that nickname as a the 15 year old. Yes, it's a great year for docos about the entertainment industry. Plus, you can see Sundance award-winner All Light, Everywhere, which examines the shared histories of cameras, weapons, policing and justice; The Gig Is Up, which ponders the gig economy; and the Cannes-awarded A Night of Knowing Nothing, which contemplates university student life in India.
When Hollywood's biggest awards can run for 93 years and only give two female filmmakers its Best Director gong in that entire time so far, it's clear that gender diversity hasn't been big on the cinema industry's priorities for most of the last century. But for six years now, the Melbourne Women in Film Festival has been doing its part to celebrate women in film, as its name makes plain — and it's back for 2022 both in-person and online. The mixed format means that Melburnians can head along to ACMI from Thursday, February 10–Monday, February 14, while folks elsewhere — or those in Melbourne who can't make it physically — can watch along at home. On the bill, cinephiles will find a showcase of movies that champion female-guided on-screen comedy, a topic that'll also echo through the fest's conversations and skills-development programs. Screening highlights include short Groundhog Night, about a dad caring for his daughter with disability; 2018 Tropfest entry Paper Cut, which plays with gender experiences; and closing night's Love and Other Catastrophes, the 1996 indie classic starring Frances O'Connor and Radha Mitchell. Among the talks and workshops lineup, The Culture of Comedy will dive into using the genre to unite creatives and viewers from different backgrounds, while Creating Comedy Online will provide tips for women looking to make a digital splash by making viewers laugh.
There's something oh-so-relaxing about staring at the sea, even if you're feasting your eyes on the water via the big screen. That's the concept behind the Ocean Film Festival Australia. You can't always spend all your time at the beach, by the river or in a pool — but you can spend an evening peering at the next best thing in a cinema. On select dates in March, screening at either 6.30pm or 7pm depending on the venue, the festival will unleash a cinematic feast of water-focused wonders onto the silver screen at various venues around Sydney. Head to the Randwick Ritz Cinemas on Tuesday, March 1, the Hayden Orpheum in Cremorne from Wednesday, March 2–Friday, March 4 and United Cinemas at Opera Quays from Wednesday, March 9–Thursday, March 10. Film-wise, viewers will spend time both above and below the ocean's surface thanks to a compilation of shorts from around the world. Expect to chase big waves, explore a range of sea life and get a hefty ocean rush, plus a heap of other sea adventures. The program is united by a love of the ocean, an appreciation of the creatures who dwell in its waters and a curiosity to explore the substance that comprises more than two-thirds of the earth. It's the next best thing to diving in, all without getting wet. [caption id="attachment_840734" align="alignnone" width="1920"] John Kowitz[/caption]
The Sydney Mardi Gras is almost upon us and, along with it, a feast of new queer cinema is about to descend upon the city. For 29 years now, the Mardi Gras Film Festival has added the latest LGBTQIA+ movies to Sydney's big celebration, and it's doing the same again in 2022 — but, as happened in 2021, it's going hybrid with both physical and online screenings. Accordingly, if you're a Sydneysider who's keen to get your big-screen queer film fix between Thursday, February 17–Thursday, March 3, you can, with the fest showing at Event Cinemas George Street, and holding one one-off sessions at Hayden Orpheum, Cremorne and Event Cinemas in Parramatta and Hurstville. But if you feel more comfortable watching from home during the current Omicron outbreak or you're a fan of LGBTQIA+ movies located elsewhere in Australia, you'll also be able to enjoy MGFF digitally as well. The fest's 2022 lineup spans 119 films from 37 different countries, covering 32 narrative features, 15 documentaries, four episodic screenings, a retrospective and nine programs of shorts — so yes, there's more than a bit to watch. That said, different flicks will play in cinemas and on-demand, as happens with hybrid fests, but more than half of the program will be available for those playing along at home and interstate. Opening the fest on the big screen is Wildhood, which is set in Canada's Atlantic Provinces and hails from MGFF's focus on First Nations filmmaking for 2022. In-cinemas only, it's joined by high-profile international film festival circuit highlights such as Great Freedom, an immensely moving drama about a man's experiences being imprisoned under Germany's former law criminalising homosexuality; and Benedetta, which follows a 17th-century nun who shocks her convent with visions, wild power plays and lesbian affairs, and happens to be the latest feature by Basic Instinct, Showgirls and Elle director Paul Verhoeven. Or, there's the Carrie Brownstein and St Vincent-starring mockumentary The Nowhere Inn, which has them both play versions of themselves, and The Novice, about a queer student on a university rowing team. Other standouts include Mexican magical realist drama Finlandia; documentaries about queer comic creators, lesbians in post-punk 80s London and American artist Keith Haring; and closing night's B-Boy Blues, which is based on the celebrated novel o the same name.
When word arrived in 2021 that Sydney was getting a new European-focused film festival, it couldn't have been better news for movie lovers. Europa! Europa is all about showcasing flicks from across the whole continent, so you can see the latest and greatest titles from France, Spain, Italy, Romania and more all at the one event — and, when it debuts at the Ritz Cinemas in Randwick from Friday, February 4–Sunday, February 27, it'll kick off with one mighty fine program. Opening the lineup is The Souvenir Part II, sequel to 2019's exceptional The Souvenir — which means that Europa! Europa is launching with the new team-up between rising star Honor Swinton Byrne and her mother Tilda Swinton. The follow-up picks up where the first movie left off, with Swinton Byrne's aspiring filmmaker attempting to cope with the tragic events of the last flick, all while she shoots her next project. Once again directed by British helmer Joanna Hogg, it'll start the festival in sublime form. (And if you're keen to see the original, it's on the bill as well.) Also bookending the fest: closing night's France from inimitable writer/director Bruno Dumont (Joan of Arc, P'tit Quinquin). A satire of the media industry, it stars No Time to Die and The French Dispatch's Léa Seydoux as a journalist forced to navigate the aftermath of injuring a pedestrian in a traffic accident. Other standouts include 13 films that were submitted as their country's entries for this year's Best International Feature Film Oscar, such as Bosnia and Herzegovina's social-realist fairytale The White Fortress and North Macedonia's Sisterhood, which is about toxic friendships — and a number of titles that wowed last year's Cannes Film Festivals, like Norwegian supernatural thriller The Innocents and the Before Sunrise-esque train-set love story Compartment No 6. Or, there's also Andrea Arnold's (American Honey) Cow, aka the most gripping and moving documentary portrait of a dairy cow's life that you're ever likely to see; Earwig, the English-language debut of acclaimed French director Lucile Hadžihalilovic (Innocence, Evolution); Vortex, which sees Climax filmmaker Gaspar Noé swap his usual wild fare for an Amour-style look at ageing; and No Fucks Given, starring Blue Is the Warmest Colour's Adèle Exarchopoulos as a flight attendant for a low-cost airline.
