Have something to say? Make your word heard during this two-day zine-making masterclass. Under the guidance of experienced zine-maker Vanessa Berry, you can cut, paste, and scribble your way to your own, unique, handmade zine. Whether you are simply intrigued by the underground world of zines or seeking to satisfy your creative itch, this intensive tutorial may just be the perfect opportunity for you. Materials are included in the workshop fee, but feel free to come armed with your own things and inspiration from home as well.
It goes without saying that the return of Sydney's performing arts scene is great news for creatives — but it's probably less good news for those of us who might not know where to start. Sample a bit of everything this month at Sydney Fringe Sideshow, a nine-day festival of over 100 events taking place across venues in and around The Rocks. There'll be performances every night from Friday, February 25 until Sunday, March 6, leaving you plenty of opportunities to explore local comedy, theatre, music, dance, art and more as you lose yourself exploring the hidden pockets of the historic precinct. If you're in need of a laugh, check out 7 Comedians for $29 at The Terraces, where you can catch a diverse (and fast-moving) lineup of comedians each performing a 10–15-minute set. This show — which this year features the likes of FBi Radio host Harry Jun (pictured below), Alex Jae and Steph Broadbridge — has been a Sydney Fringe Sideshow sell-out for the past seven years, so be sure to book tickets ASAP to snag your spot. If you are looking for something a little more on the fringe, then The Lounge Room Confabulators is the show for you. Step into a makeshift home to experience a storytelling show created and performed by Stuart Bowden and Wil Greenway for this award-winning show that has played to full houses at festivals in Melbourne, Adelaide, Perth, Edinburgh and Oslo. For those wanting to get lost in some beautiful music, make sure to check out Prinnie Stevens: Lady Sings The Blues. The celebrated Australian singer will showcase her velvety vocals in a show that explores the pain and beauty of women in song, via music originally performed by a range of greats from Billie Holiday and Etta James to Sade and Beyoncé. This one-night-only show promises an unforgettable performance in a sultry speakeasy-style setting at the Observer Hotel. For more info on Sydney Fringe Sideshow, see the full list of shows and to book tickets, head to the Sydney Fringe Sideshow website.
When Toy Story hit cinema screens back in 1995, the Oscar-winning movie made history as the first entirely computer-generated feature-length film. The huge Pixar hit also made audiences everywhere fall hard for a bunch of loveable playthings, because you're never too old to find a friend wherever you need it. It's completely okay if you're feeling a little wistful and teary just thinking about it. Nine years after the last Toy Story movie, the animation studio is counting on that very sentiment — and that viewers everywhere just aren't ready to farewell these animated pals. While 2010's Toy Story 3 was pitched as the final flick in the series, this film franchise could reach to infinity and beyond. For now, it's just unveiling its next chapter. Releasing on the big screen in June, Toy Story 4 sees the return of Woody, Buzz Lightyear and the gang (and the return of Tom Hanks, Tim Allen and company as voice talent). Given that Andy, the protagonist from the original three flicks, has given away all of this toys, the group are now the proud property of Bonnie — and a new adventure awaits, as does a new homemade buddy called Forky (Tony Hale). Keegan-Michael Key, Jordan Peele, Christina Hendricks and none other than Keanu Reeves also join the voice cast — the latter playing a daredevil character called Duke Kaboom, and likely saying "whoa!" more than once. Check out the full trailer below, and prepare to get mighty nostalgic: https://www.youtube.com/watch?v=wmiIUN-7qhE Toy Story 4 releases in Australian cinemas on June 20, 2019.
If you're a science-fiction fan — and a lover of 2008's Cloverfield and its 2016 follow-up 10 Cloverfield Lane, specifically — then you might want to cancel your plans for tonight. With barely a few hours notice, Netflix is now streaming the third film in the franchise. Yes, today. No, that's not a typo. Previously called God Particle, it's now going by the name The Cloverfield Paradox, and it's now available worldwide (yes, even on Australian Netflix) via the streaming platform the moment the New England Patriots and the Philadelphia Eagles walk off the field. Haven't even heard of the flick, even though it stars Black Mirror's' Gugu Mbatha-Raw, The IT Crowd's Chris O'Dowd, Inglourious Basterds' Daniel Brühl, Selma's David Oyelowo, Crouching Tiger, Hidden Dragon's Zhang Ziyi and Aussie actress Elizabeth Debicki? That's okay — the first trailer for the movie only aired during the game, bearing the words "only on Netflix tonight" at the end. The news that it'd be available via Netflix rather than in cinemas is a recent development, too. Initially, it was set to release in theatres last year, before being moved to February 1 this year and then later this year. In fact, up until a few minutes ago, we still had the film in our review schedule for April. https://www.youtube.com/watch?v=8brYvhEg5Aw&feature=youtu.be In taking on a star-filled, decent-budget movie that was originally made to be viewed in cinemas, then releasing it for all the world to see with very little warning, Netflix is in uncharted territory. If this was another sci-fi saga, we'd say they're boldly going where no one has gone before. It's great news for film buffs eager to watch something when and where they want — and not be at the mercy of different release dates around the world — but it's also indicative of a new trend. Paramount, the studio originally behind The Cloverfield Paradox, did something similar with fellow sci-fi title Annihilation, the latest effort from Ex Machina's Alex Garland. As The Hollywood Reporter noted in December last year, it decided to find another avenue for the film after worrying it was "too intellectual" and "too complicated" for viewers. If you think that sounds a little patronising, you're not alone. The Atlantic ran through some of the worries behind the strategy, but, in short, it could be a sign of not-so-great things to come. At a time when cinemas are filled with endless Star Wars instalments and multiple superhero cinematic universes — not that there's anything wrong with that, either — movies like The Cloverfield Paradox and Annihilation are becoming increasingly rare. Not just sci-fi flicks, but anything that doesn't fit into an existing franchise, remake/reimagine/reboot a recognisable property or star The Rock (or, sometimes, all of the above). And while they're frequently the films that do extremely well at the box office, audiences do want to see other things too. We don't just want our cinematic candy — bright, loud, comfortable and familiar — but fare that's are different, intriguing, unusual and unexpected as well. Of course, the Cloverfield franchise has a history of surprise reveals, keeping things close to its chest and doing things differently. The first film, a found-footage monster effort, gave very little away before the movie hit cinemas. The second, which focused on Mary Elizabeth Winstead in a bunker with a possibly hostile John Goodman, only released its first trailer and confirmed that the movie even existed a month before it was released. Netflix's plan of attack with The Cloverfield Paradox makes that seem positively slow. But, when you're settling down to watch the flick from today onwards, here's hoping that you'll still be able to see movies like this on the big screen in the future. The Cloverfield Paradox is now streaming on Netflix here.
This winter, you won't be chasing the sun and soaking in a European summer. But, thanks to eased domestic border restrictions and the trans-Tasman bubble, you can spend the chilliest part of the year surrounded by snow. Of course, whether you're planning to ski, snowboard or just build a snowman, you'll need to rug up — and whatever is currently in your wardrobe mightn't do. Each year — except 2020, for obvious reasons — Aldi hosts a big sale on snow gear, offering good quality gear at almost ridiculously low price points. It's back in 2021, so mark Saturday, May 22 in your diary. That's when you can head to your nearest Aldi supermarket to pick up everything from snow jackets and boots to face masks and beanies. Available at stores across the nation, and made to withstand extreme weather conditions, 2021's range of gear includes six different varieties of snow jackets, which start at $39.99 for something light and go up to $119.99 for windproof and waterproof numbers; four types of snow pants, including one style with adjustable leg and waist cuffs for $99.99; and ski fleece sets, featuring a hoodie and a pair of pants, for $19.99. Boots for both kids and adults start at $19.99, helmets will cost you between $19.99–$24.99, and you'll be spending between $4.99–$34.99 for masks, beanies, neck warmers, cabin socks, gloves and balaclavas. Kids clothing is part of the deal, too, if you'll be travelling with younger skiers — ranging from $19.99–$34.99. Once you're all kitted out, you're certain to stay toasty if you're making the trip to Perisher Valley, Thredbo, Falls Creek, Hotham or anywhere else local where snowy peaks are a feature. If you're hopping across the ditch instead, you'll find plenty of items to stop you getting frosty up at New Zealand's ski fields.
Following blockbuster exhibitions in 2017 and 2019, The National: New Australian Art is once again gracing Sydney's galleries, with the monumental contemporary Australian art exhibition spanning the Art Gallery of NSW, the Museum of Contemporary Art Australia and Carriageworks. Just what this biennial showcase highlights is right there in its title — and there's plenty of it in 2021, with the exhibition unveiling 39 newly commissioned works. The focus: art from local emerging, mid-career and established artists, including creatives that hail from both urban and regional areas. The exhibition opened on Friday, March 26, and is on display through until June 20 at Carriageworks, until August 22 at the MCA and until September 5 at AGNSW. Highlights include Betty Muffler and Maringka Burton's large-scale landscapes, Alick Tipoti's hefty fibreglass sculptures that resemble sea creatures and James Tylor's daguerreotype installation, which reclaims Kaurna place names, all of which are now on display at AGNSW. Or, the MCA is currently home to a five-metre-tall kinetic wind-powered sculpture by Cameron Robbins and Lauren Berkowitz's statement on the environment using plastic waste, while the Karrabing Film Collective, Vernon Ah Kee, Dalisa Pigram, Isadora Vaughan and Lorraine Connelly-Northey all have pieces on display at Carriageworks. [caption id="attachment_805496" align="alignnone" width="1920"] Alick Tipoti, 'Dhangal Madhubal' (2021) & 'Baydham' (2021). Courtesy the artist. 'Girelal' (2011) Carins Art Gallery, Queensland donated through the Australian Government's Cultural Gifts Program by Editions Tremblay 2021. Courtesy the artist and Cairns Art Gallery. Copyright the artist. Photo by AGNSW, Felicity Jenkins.[/caption] As overseen by AGNSW Curator of Asian Art Matt Cox, AGNSW Assistant Curator of Aboriginal and Torres Strait Islander Art Erin Vink, MCA Chief Curator Rachel Kent and Carriageworks' independent curator Abigail Moncrieff, the multi-gallery exhibition spans everything from sculpture, textiles, painting, photography and film to installation and performance pieces, all exploring a number of interconnecting themes. Some works cast a particular lens on the environment, its destruction and the role we play in that destruction — as well as delving into the general feeling of global uncertainty which seems to permeate into every aspect of life lately. Other themes explored include relationships to Country, collaboration and intergenerational learning. Also pivotal: works from remote communities such as Anangu Pitjantjatjara Yankunytjatjara (APY Lands), Yirrkala in northeast Arnhem Land, Zendah Kes (Torres Strait Islands), and Belyuen, on the northwest coast of the Northern Territory. "Aboriginal and Torres Strait Islander artists in this exhibition present works that exist between moments of categorisation and form, relying on and claiming Indigenous and non-Eurocentric forms of knowledge," said Vink, with AGNSW's lineup spanning pieces from 17 artists, including five Indigenous creatives. If you're heading to MCA, you'll see works from 13 artists, with a key focus on diverse approaches to the environment and storytelling. Over at Carriageworks, questioning and responsiveness are in the spotlight, as seen through the efforts of another 13 artists and artist collectives. This year marks the third instalment The National, which started as a six-year initiative to explore and display the latest practices, ideas and philosophies in Australian modern art. Previous iterations have proven huge hits, attracting more than 600,000 visitors across the three venues. It's career-defining stuff for many artists involved — and all three venues have committed to the continuation of The National beyond 2021. The National 2021: New Australian Art opened on Friday, March 26 — and displays at Carriageworks until June 20, at the Museum of Contemporary Art Australia until August 22 and at the Art Gallery of NSW until September 5. For further details, head to the exhibition website. Top images: Kate Just 'Anonymous Was a Woman' (2019–2021, installation view. Museum of Contemporary Art Australia, Sydney. Image courtesy and copyright the artist. Photo by Anna Kucera. Maree Clarke, Photograph of Jacob (2020), Photograph of Aaron (2020), installation view. Museum of Contemporary Art Australia. Image courtesy and copyright the artist. Photo by Anna Kucera.
UPDATE, June 28, 2022: RRR is available to stream via Netflix. The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. There's more to both men's stories because there's so much more to RRR's story; to fill the movie's lengthy running time, Rajamouli hasn't skimped on plot. Indeed, there's such a wealth of things going on that the film is at once a kidnapping melodrama, a staunch missive against colonialism, a political drama, a rom-com and a culture-clash comedy — involving Bheem's affection for the sole kindly Brit, Jenny (Olivia Morris, Hotel Portofino) — and a war movie. It's a buddy comedy as well, starting when Bheem and Raja join forces for that aforementioned bridge rescue, yet don't realise they're on opposite sides in the battle over Malli. It's also as spectacular an action flick as has graced cinema screens, and as gleefully overblown. Plus, it's an infectiously mesmerising musical. One dazzling dance-off centrepiece doubles as a rebuff against British rule, racism and classism, in fact, and it's also nothing short of phenomenal to look at, too. Spectacle is emphatically the word for RRR — not quite from its scene-setting opening, where Malli is ripped from her family, but from the second that Raju shows how well he can handle himself. That involves taking on a hefty horde of protesters single-handedly with just a stick as a weapon, because extravagance and excess is baked into every second of the feature. Super-sized is another term that clearly fits, because little holds back even for a second. And a third word, if the film bumped up its moniker to the next letter in the alphabet? That'd be sincere. An enormous reason that everything that's larger than life about RRR — which is absolutely everything — works, even when it's also often silly and cheesy, is because it's so earnest about how determined it is to entertain. You don't use that amount of slow-motion shots if you don't know you're being corny at times, unashamedly so. If the whole friends-but-enemies dynamic between Bheem and Raja sounds like The Departed and Infernal Affairs, that's just part of RRR's exuberant melange of influences — just like genres. Its protagonists Komaram Bheem and Alluri Sitarama Raju are actually ripped from reality, with each revolutionaries, although their tales didn't ever intertwine. (No, nothing IRL in history has ever resembled this). The Harder They Fall did the same thing, fictionalising the past to make a statement and craft barnstorming cinema, but in America, in the Old West and with Black characters. Imagine the same idea given the Michael Bay treatment in India and that's almost the wavelength that RRR runs on. Imagine the right kind of Bayhem, though — Pain and Gain, for instance — or just think of his penchant for shamelessly go-for-broke action scenes and ignore everything he usually stuffs around them. When a filmmaker is helming an action onslaught, just as when they're overseeing musical scenes, choreography is always key. That's another crucial factor in making RRR so engaging. Rajamouli's staging of both, and the way that the frays and song-and-dance numbers alike are shot by cinematographer KK Senthil Kumar (Vijetha) and edited by A Sreekar Prasad (Good Luck Sakhi), is a visual wonder. On one side, the Fast and Furious movies would be envious. On the other, Lin-Manuel Miranda might be. Again, RRR is often chaotically ridiculous, but it's also so well-made — so audaciously as well — that it's exhilarating. The films of John Woo come to mind at times, as do The Raid and The Raid: Redemption, but RRR is also its own beast. It's also easy to predict that Telugu-language cinema stars Jr NTR and Charan could get their moment in Hollywood; if Vin Diesel doesn't come calling, perhaps Quentin Tarantino will when he hops behind the camera next. Jr NTR and Charan are megawatt movie stars, one playing an everyman who becomes a hero, the other the picture of dutiful and skilled authority — and deep-seated conflict — who does the same. They're dynamite together amid the rampant maximalism, the stunts and the CGI-heavy special effects. Yes, that means that RRR is also a bromance. The film's central pair live their lives one anti-colonialist tussle at a time, though. Their characters are also posed as superheroes, never with the term ever mentioned, but in just how super-adept they are. Of course, the usual sprawling caped-crusader franchises typically don't feel this overstimulated, ardent, often-absurd and engagingly alive.
UPDATE, January 21, 2022: Synchronic is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Amazon Video. Justin Benson and Aaron Moorhead aren't currently household names. If they keep writing and directing mind-bending sci-fi like Synchronic, though, they will be. The pair actually appear destined to become better known via Marvel, as they're slated to helm one of the MCU's many upcoming Disney+ TV series, the Oscar Isaac-starring Moon Knight — but they've already worked their way up from the US$20,000 budget of their 2012 debut Resolution to making movies with Anthony Mackie and Jamie Dornan. Here, with Marvel's own Falcon and Fifty Shades of Grey's leading man, they play with time, relativity, fate and brain-altering substances. They ponder the shadows that the past leaves on the present, the way that progressing through life can feel far more like a stumble than following a clear path, and how confronting loss and death can reframe your perspective on living, too. Those temporal jumps and existential themes aren't new, of course, and neither is the film's steely look and feel, and its willingness to get dark. But that's the thing about Benson and Moorhead: few filmmakers can twist familiar parts into such a distinctive, smart and engaging package in the same way, and with each and every one of their movies. Synchronic shares its title with a designer drug. In the film's vision of New Orleans, the hallucinogen can be bought in stores — and plenty of people are doing just that. Shift after shift, paramedics Steve Denube (Mackie) and Dennis Dannelly (Dornan) find themselves cleaning up the aftermath, as users of the synthetic substance keep overdosing, dying in unusual ways and getting injured in strange mishaps. And, these aren't your usual drug-fuelled incidents. One, involving a snakebite, happens in a hotel without even the slightest sign of slithering reptiles on the loose. That's enough to arouse the world-wearied Steve and Dennis' interest, and to give them something to talk about other than the former's attachment-free life and the latter's marriage. Then Dennis' teenage daughter Brianna (Ally Ioannides, Into the Badlands) goes missing, and the two EMTs are instantly keen to investigate any links that the popular pill might have to her disappearance. In a film that initially drips with tension, dread and intensity, Benson and Moorhead don't take too long to reveal how synchronic works, but it's still something that's best discovered by watching. They don't ever simply tell the audience what's going on, though. As all good films that tinker with time should — and as some not-so-great ones, like Australian rom-com Long Story Short, try to yet flounder — Synchronic doesn't merely show the effects, either, but instead uses every tool at its disposal to take viewers on the same journey. Indeed, much of the movie hinges upon how Steve feels when he pops a pill. While the character could just explain that aloud, that'd be the least interesting option and the film's directors know it. So, whether peering up at the sky, toying with slow motion and perspective, tilting angles, completely flipping the picture or using long takes, the feature gets subjective with its cinematography, which is lensed by Moorhead. One dazzling and dramatic shot at a time, it plunges everyone watching into Steve's head as he first experiments with synchronic's capabilities, then endeavours to use them to bring Brianna home. There's more to Steve's story than possibly being a hero, and that's one of Synchronic's superpowers. Although surreal imagery, a trippy narrative and an off-kilter atmosphere all sit in the movie's toolkit, it's how Benson and Moorhead ground all of the above in genuine emotions that makes this a science fiction film with both brains and a pulse. Easy sentiment and schmaltz have no place here, but anchoring the film's musings on life certainly does. After all, there's little point in pondering 'what if?' scenarios, which is sci-fi's entire remit, if those trains of thought don't also interrogate and explore the human condition. Consequently, although it initially seems as if the script makes a few easy moves regarding Steve's background and current experience, there's insight in those choices. There's cold, hard truth, too, which Synchronic happily faces — because how we're each shaped by trauma is life's number one story. This isn't Benson and Moorhead's first dance with this subject, as anyone who has seen Resolution, 2014's horror-romance Spring and 2017's excellent cult thriller The Endless will spot. That said, even when the premise of their features explicitly calls for repetition — always cleverly and playfully — the pair doesn't just retread their previous footsteps. With each addition to their shared resume, the filmmaking duo demonstrates an uncanny knack for using genre confines and deploying recognisable tropes to excavate pain and tragedy. When viewed as a whole, their career to-date provides an impressive and perceptive snapshot of dealing with life's difficulties, in fact. Each of Benson and Moorhead's four films so far are strikingly shot and astutely written, and rank among the best horror and sci-fi efforts of the past decade, but they're also as thoughtful and resonant as they are intelligent and ambitious — and that's an irresistible combination. Synchronic does occasionally falter. Mackie gets the better part and has far more of an impact than Dornan, for instance. But the lived-in camaraderie between their characters — who've been partners so long that they speak in shorthand — always feels real, and Dornan is still worlds away from the woeful Wild Mountain Thyme, his previous big-screen role. The film's ending doesn't completely fall into place, too, but even that feels like a minor issue. When a movie takes you on the kind of ride that Synchronic does, in such a stunning, sharp and thrilling fashion, and with such depth at is core, its tiny imperfections fade from memory quickly. Or, as Benson and Moorhead might posit, they help make everything that's exceptional shine even brighter, stand out even more and cut even deeper. https://www.youtube.com/watch?v=87RIVAc6MJU&feature=youtu.be
Neo. John Wick. Johnny Utah. Ted "Theodore" Logan. Across Keanu Reeves' almost four-decade acing career, the inimitable star has played many iconic parts — but only one thrust him to stardom as a time-travelling high-school slacker who had to round up famous figures from the past to pass his history report and save the future of humanity. As a result, the Bill & Ted movies have always held a soft spot in Keanu fans' hearts. Since first hitting screens in 1989 and 1991, the franchise has long been the subject of follow-up rumours, too. And now, just when the world particularly needs a reminder about being excellent to each other, the series is returning with its long-awaited third instalment. Nearly 30 years after Reeves last rocked out, grappled with fate and used a telephone box as a mode of transport in Bill & Ted's Bogus Journey, he's back doing the same thing. So is Alex Winter as Bill S. Preston, Esquire, Ted's best buddy, San Dimas High classmate and fellow founder of Wyld Stallyns, aka the garage band that'll change life as we know it and inspire a utopian society — at least according to Rufus (the late George Carlin) in film that started it all, Bill & Ted's Excellent Adventure. But as both the first teaser and the just-dropped full trailer for Bill & Ted Face the Music shows, that plan hasn't quite panned out as yet for the franchise's central duo. A quarter-century ago, they played a concert in front of the entire world. One month ago, they played a gig in California for 40 people — "most of whom where there for $2 taco night", they're told. After being reprimanded by the folks from the future for their lack of progress — when you're supposed to write the song that unites the globe and rescues reality, 25 years without any progress isn't going to go by unnoticed — Bill and Ted decide to head forward in time to a point when they've already penned the tune in question. Once they're there, they figure they can just steal the track from themselves. Plenty of hijinks await, naturally, including singing at weddings, playing air guitar with the Grim Reaper (William Sadler) and coming face to face with beefed-up versions of themselves. Oh, and then there's Ted's daughter Billie Logan (Bombshell's Brigette Lundy-Paine) and Bill's daughter Thea Preston (Ready or Not's Samara Weaving), who follow in their dads' footsteps and get in on all the time-travelling fun. If the first teaser was enough to make you exclaim "party on, dudes!", Keanu-style, then this longer trailer will evoke more of the same. Bill & Ted Face the Music is clearly taking more than a few queues from its predecessors, too — as well as needing to create a song in 78 minutes that'll save the world and bring harmony to the whole universe, Bill, Ted, Billie and Thea also enlist some well-known personalities from the past to help. As for what happens next, how often someone will say "whoa!", and what the rest of the cast — which includes Kid Cudi, Kristen Schaal, Anthony Carrigan, Erinn Hayes, Jayma Mays, Jillian Bell, Holland Taylor, Beck Bennett, Hal Landon Jr and Amy Stoch — gets up to, that'll all be revealed when the film hits Australian cinemas on Thursday, August 27. Until then, check out the full Bill & Ted Face the Music trailer below: https://www.youtube.com/watch?v=9gnTuWEKSXw&feature=youtu.be Bill & Ted Face the Music is scheduled to release in Australian cinemas on August 27.
Medowie Macadamias is a plantation based in the quiet town of Medowie, Port Stephens. It has been around since 1980, and now has five varieties of macadamia trees planted across its 12 acres. If you'd like a tour of the farm, you'll need to contact the owners in advance. If you just want to turn up, there are signs dotted around that explain the history of the farm and the production process, which you can browse while you wait for your food from the onsite cafe. It serves breakfast and lunch, plus a selection of sweets and coffee. Take some time to browse the shop, too, which sells a range of macadamia-based products — from chilli-coated macadamia nuts and macadamia honey to whopping 2.2-litre macadamia oil bottles and cosmetics.
It's safe to say that Australia's COVID-19 vaccination rollout hasn't been all smooth sailing. Nor has it come without its (unfair) share of highly divided opinions. But, we can all agree that getting back to a world where we're all able to do the things we love would be very nice, indeed. For many, the arts industry is one of the biggest things we've sorely been missing in the last 18 months, and it's also one of the sectors that has been hit the hardest by the pandemic. This was the catalyst for the Melbourne Symphony Orchestra's compelling new ad campaign aimed at overcoming vaccine hesitancy in Australia. The Performance of a Lifetime was created with the help of a diverse cast of local artists and arts organisations in order to encourage audiences to get on board and get vaccinated when they're eligible. Its message? The sooner people play their part and get their jab — aka the performance of a lifetime — the sooner we can all get back to doing what we love. Best of all, it ditches any alarmist chat in favour of clear, straightforward messaging and a hopeful outlook. Musical comedy trio Tripod, who appeared in the ad, summarised the sentiment nicely in a media statement: "The sooner everyone mucks in and gets the jab, the sooner the arts community can get back to what we do best — providing a focal point for communities to gather, so we can all share our joy at being alive on this big, stupid planet." The two-minute-long ad features a rollcall of other familiar faces from Melbourne's music, theatre, dance and performance communities, including iconic entertainer Rhonda Burchmore OAM, composer and soprano Deborah Cheetham AO, and actress Virginia Gay. You'll also spy appearances from members of the Melbourne Symphony Orchestra, Melbourne Theatre Company, The Australian Ballet and national Indigenous opera company Short Black Opera. As comedian and songwriter Tim Minchin said in a statement, "Get vaccinated Aussies…as soon as you possibly can. Let's show this fucking bug the door." You can check out the full 'Performance of a Lifetime' ad video here on YouTube.
As attempts to combat COVID-19 ramp up around the globe, venues and organisations everywhere are temporarily shutting down. New York's Metropolitan Opera is one of them; however, it's not letting its fans spend their self-isolating days without their beloved artform, announcing nightly live-streamed opera performances from its collection. From Monday, March 16 US time (Tuesday, March 17, Down Under), the NY institution is streaming a different opera each evening. Called Nightly Met Opera Streams, the program kicked off with high-profile shows such as Bizet's Carmen, Puccini's La Boheme, Verdi's Il Trovatore and La Traviata, Donizetti's La Fille du Régiment and Lucia di Lammermoor, and Tchaikovsky's Eugene Onegin — streaming each for 23 hours from 7.30pm New York time each night. Other highlights included, Nico Muhly's Marnie, Verdi's Aida and Borodin's Prince Igor. On Monday, May 4, Mozart's Le Nozze di Figaro is streaming, followed by Thomas's Hamlet on May 5, Saariaho's L'Amour de Loin on May 6 and Strauss's Capriccio, plus a double bill on Sunday, May 10 featuring Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci. And, if you missed Puccini's celebrated La Boheme, you can catch it again on Friday, May 8. https://youtu.be/afhAqMeeQJk Even better — Nightly Met Opera Streams is free, so you can enjoy world-class opera recorded live (and streamed in HD) without either paying a cent or leaving your couch. Nightly Met Opera Streams commence on Tuesday, March 17, Australian and New Zealand time, with a new show live-streamed every day and available for 23 hours afterwards. For further details, visit the Met Opera website. Top image: Bengt Nyman via Wikimedia Commons. Updated May 5.
In a normal year, Sydney's annual Italian Film Festival gives cinephiles a chance to venture to Europe from the comfort of their cinema seats. In 2020, it's doing the same — but for everyone desperate to soak in some scenic sights well beyond their own four walls, that mission feels especially resonant. Cue an impressive array of films that'll whisk you off to the other side of the planet, as screening at Palace Norton Street, Palace Verona, Chauvel Cinemas and Palace Central from Tuesday, September 29–Sunday, October 18. With Bad Tales, viewers will head to a southern suburb of Rome during a tense summer. Via psychological drama Feel Your Memories, a trip to 90s-era Naples is in order. And thanks to the latest live-action version of Pinocchio — IFF's opening night film, and the latest feature by Gomorrah and Dogman's Matteo Garrone — seeing the country through the eyes of a sentient wooden puppet is also on the agenda. The festival's other highlights include Martin Eden, which nabbed The Old Guard's Luca Marinelli the Best Actor prize at the 2019 Venice Film Festival; crime drama The Traitor, which won big at Italy's version of the Oscars this year; and a 20th anniversary screening of Giuseppe Tornatore's romantic tragedy Malèna, starring Monica Bellucci. Or, you can opt for a rom-com with 7 Hours to Win Your Heart, jump into a holiday comedy via I Hate Summer and get immersed in a legal drama with Ordinary Justice. https://www.youtube.com/watch?v=66f3BFtAmZA The 2020 Italian Film Festival screens at Palace Norton Street, Palace Verona, Chauvel Cinemas and Palace Central from Tuesday, September 29–Sunday, October 18.
Once, dance and classical weren't music genres that you'd usually find swirling around in the same basket, unless you have a particular bent for the orchestral 'Sandstorm' covers found in the depths of YouTube. Since 2019 in Australia, however, Synthony has been here to prove that the disciplines go hand in hand — and it's returning for another tour in 2024. Initially founded in New Zealand, and now an annual highlight on Australia's gig calendar, the event gets a live orchestra joining forces with a selection of DJs and onstage performers to play the biggest dance tracks of the last 30 years. Think: tunes by Swedish House Mafia, Basement Jaxx, Fatboy Slim, Avicii, Fisher, Faithless, Disclosure, Eric Prydz, Flume, Calvin Harris, Wilkinson and the like, and as you've never heard them before. Wherever Synthony pops up, the venues that it temporarily call home take a few cues from the nightclub scene, with lights, lasers and mapped video all featured in the experience. And, as the orchestra busts out a selection of dance floor bangers note for note, vocalists also do their part — because this isn't just about instrumental versions of your favourite club tunes. The 2024 run first has two dates with Sydney, playing Carriageworks during Vivid across Friday, June 7–Saturday, June 8. On the lineup: the Metropolitan Orchestra conducted by Sarah-Grace Williams, as joined by Ilan Kidron from The Potbelleez, Emily Williams, Cassie McIvor, Greg Gould, Matty O and Mobin Master.
It's easy to understand why Bart Freundlich, filmmaker and husband of Julianne Moore, decided to remake After the Wedding. A best foreign-language Oscar nominee in 2006, the original Danish feature is a thorny melodrama that's big on moral dilemmas, but even bigger on revelatory moments and performances — and gender-swapping the main characters, shifting the action to America and giving Moore a lead role was clearly too juicy an opportunity to pass up. So was casting his wife opposite Michelle Williams, another actor who can play steely and fragile in the same breath, excels at portraying complex, realistic women, and manages all of the above with the utmost subtlety. Indeed, if any uncertainty hovers over Freundlich's movie, it isn't "why?", but "why didn't it happen sooner?". Perhaps the answer to the second query resides in After the Wedding's narrative, which acts like a Rorschach test for audiences. Some will see splotches of #firstworldproblems connected through convenient, even implausible twists. Others will notice how the film stresses the enormous chasm between the needy and the rich, refuses to trade in simplicity, and has meticulously calculated each and every plot development. Of course, both perspectives can prove accurate at once. A movie can seem neat, chaotic, overly structured and random in tandem, because life almost always does the same thing. Leaning into these contradictions actually deepens After the Wedding — as its conflicted characters are forced to navigate testing circumstances, Freundlich's film never even thinks of settling into a safe, cosy niche. Location-wise, though, the opposite is true. After the Wedding is largely set in a privileged world, spending the bulk of its time in New York penthouses, offices and country estates. The film introduces Isobel (Williams) while she's meditating at the Kolkata orphanage she helps run, then whisks her across the globe to secure funding from business high-flyer Theresa (Moore) — and makes a point of stressing how uncomfortable Isobel is with the change of environment. That's the first major upheaval that pushes Williams' calm yet flinty character out of her comfort zone. When Moore's brittle hotshot demands that Isobel extends her trip and, even though they've just met, also insists that she attends her daughter's upcoming wedding, additional surprises follow. It's impossible to delve further into the plot without giving too much away; however Isobel is hardly thrilled when she meets Theresa's sculptor husband Oscar (Billy Crudup), or takes a proper look at Grace (Abby Quinn), the blushing bride. The best moral dilemmas double as mysteries, inspiring a series of questions. How will the intricate plot pieces fit together? How will the various players respond? How will tussling with a life-altering scenario change everyone involved? After dropping the first big revelation early — his film is called After the Wedding, after all — Freundlich keeps the complications coming thick and fast, but takes time to revel in Isobel, Theresa, Oscar and Grace's reactions. That's the nuts and bolts of the movie, as relayed in heated altercations, awkward exchanges, pensive moments, and big breakthrough scenes that push Isabel and Theresa to their limits. Naturally, Williams and Moore couldn't be better; fresh from stellar work in Fosse/Verdon and Gloria Bell, respectively, that's why the reliably excellent duo was cast. Without them, After the Wedding might've felt soapy, especially after discarding its predecessor's jittery camerawork for conspicuously smooth and gleaming visuals, but that's never the outcome. When a story loves thrashing in as many different directions as this one, it takes particularly textured and nuanced performances to hammer home its tender core, which is what Williams and Moore continually bring to the table. Elsewhere, Crudup is understated but underused in support, while Quinn holds her own with the film's high-profile leading ladies — and that's no mean feat. The elephant in the room? It's the place where elephants are far more common, with Isabel's life in India — and her bond to eight-year-old Jai (Vir Pachisia), the abandoned boy she's become a replacement mother to — never fading from view. Still, while she's desperate to return and keep making a difference, hers is never a clumsy white saviour tale. This part of the story is noticeably blunt, as are the film's other attempts to address class differences (as Isabel rattles off stats about child prostitution to Theresa, they're interrupted by a catering snafu over a lack of lobster, for example), yet the instinct to grapple with one's issues by helping others rings true. Perhaps surprisingly given how many twists it strings together, After the Wedding proves affecting and engrossing in general for the same reason: no matter what the film throws at the screen, its heaving emotional landscape always feels devastatingly real.
When Bong Joon-ho makes a new movie, the world takes notice. It has never paid quite as much attention as it has to Parasite, though. Since premiering at the 2019 Cannes Film Festival, the twisty Korean thriller has picked up the Palme d'Or, the Sydney Film Festival Prize, a Golden Globe, plenty more awards and nominations, rave reviews and an enormous cult following. And rightly so. It's best movie of the past year — a call we don't make lightly. It seems that no one can get enough of this dark and devious film, its class war between rich and struggling families, and the scathing mayhem that follows. Case in point: more than six months after the film first released in Australian cinemas, it's still showing on big screens around the country. And in the near future, Parasite will be flickering across small screens, too — not just via DVD or streaming, but adapted into a new limited TV series for HBO. As revealed by The Hollywood Reporter, the US network is set to join forces with Bong to turn Parasite into a television show, winning the rights over Netflix. Bong will adapt and executive produce alongside Adam McKay — the director of Anchorman: The Legend of Ron Burgundy, its sequel and a heap of other Will Ferrell-starring comedies, who then made the jump to more political and topical fare with The Big Short, Vice and TV's Golden Globe-winning Succession. The final deal on HBO's iteration of Parasite hasn't been done as yet, so there's no word on whether it'll be an English-language remake or a Korean-language follow-up to the film. Casting and timing haven't been revealed either. Parasite marks the second of Bong's stellar flicks to earn a small-screen version, with an American TV show-based Snowpiercer due to hit screens this year — although Bong himself isn't involved with that adaptation. Need a reminder of Parasite's greatness? Check out the film's trailer below or go see it in cinemas. https://www.youtube.com/watch?v=SEUXfv87Wpk Via The Hollywood Reporter.
Shortstop is celebrating its birthday in the best possible way: by giving away a boatload of free doughnuts. Saturday, September 8 marks four tasty years since the coffee and doughnut specialists started slinging rings of dough and cups of joe from its first store in Melbourne. And to mark the anniversary, the bakers will whip up a special limited-edition birthday cake doughnut (topped with sprinkles, naturally), which they'll be giving away free with every transaction at its Barangaroo outpost. There will only be 1000 available, though, so best get there in the morning — because once they're gone, you won't see them again until birthday number five.
Among the array of difficult decisions that shape each and every movie, structure — that is, how directors and screenwriters choose to order and relay their on-screen stories — ranks among the most pivotal. Many filmmakers prefer the scaffolding of their films to remain invisible, so their features flow seamlessly from beginning to middle to end without anyone noticing the wheels turning, and that's perfectly fine. Indeed, it suits plenty of cinematic tales. But when someone like acclaimed French auteur François Ozon calls attention to exactly how he's organising and doling out his narrative, he does so with a definite purpose. Actually, in his latest drama By the Grace of God, he does so to make a statement. This Berlinale Silver Bear-winner explores sexual abuse in the Catholic Church, diving into its tough subject matter by not only charting the paths of three men who were all molested by the same priest as children, but by dedicating roughly a third of its running time to each of them. This move, made by Ozon as both a writer and director, is also equally sensible and natural. By the Grace of God meets its trio of protagonists as adults, as lawyer Alexandre Guérin (Melvil Poupaud), then atheist François Debord (Denis Ménochet), and then the younger and more visibly troubled Emmanuel Thomassin (Swann Arlaud) all face their ordeals decades earlier at the hands of Father Preynat (Bernard Verley). When Alexandre, who remains a church-goer and now has his own young children, discovers that the Lyon priest is still allowed to work with kids, he makes a complaint to Cardinal Philippe Barbarin (François Marthouret). Later, Police Chief Courteau (Frédéric Pierrot) begins investigating as well. Slowly, both François and Emmanuel are drawn into these enquires, with the narrative shifting its focus accordingly. Although there's no literal baton-passing, that's the overall effect. By arranging the movie in this fashion, Ozon gives himself the space to tell three very distinctive (yet still related) stories. As is to be expected, Alexandre, François and Emmanuel's shared traumatic childhood experiences have affected them in completely different ways, and conveying this is crucial. Beyond that, however — and perhaps more importantly than that — Ozon's tripartite structure shows how something this insidious and atrocious causes ripples that don't ever end. Reflecting the reality of such cases, By the Grace of God could've included five, ten or vastly more main characters, relaying the torch from one to the other. As the news keep reminding us, tales like these aren't fictional or isolated. Ultimately, the film hones in on just three men and their encounters with one priest, but it wholeheartedly highlights the devastating scope of sexual abuse in religious institutions, both in terms of the number of victims and the unshakeable pain that follows them throughout their lives. The details at the centre of By the Grace of God are, as with excellent Best Picture Oscar winner Spotlight, actually based on truth. Here, the film's ripped-from-the-headlines storyline caused two of the figures portrayed within its frames take legal action to — unsuccessfully — attempt to block its release. While he's known for working in fiction across everything from the comedy (In the House) to psychosexual thriller (Double Lover) genres, Ozon reportedly originally considered turning this story into a documentary. Sticking with an appropriately beige-hued drama instead, he more than does it justice. This is a sensitive and sobering picture, with Ozon in a far more restrained mode than evidenced in previous efforts such as Swimming Pool and Young & Beautiful. The use of letters read via voice-over to provide viewers with swathes of information doesn't always work as well as intended, but that By the Grace of God sparks a wealth of anger, dismay and empathy while watching should surprise no one — nor that it does so in a measured and careful manner. It seems a sad fact of life that, in most corners of the world, movies like this are always going to be topical and timely. In Australia, in a year that's seen a landmark case taken through Victoria's courts, the film lands at a particularly significant moment. As a result, it's fitting that Ozon's thoughtful feature apes a fundamental tenet of legal action in such heartbreaking circumstances. By telling this tale, it gives victims a voice. Poupaud, Ménochet and Arlaud are each superb as men forever changed by their tainted youth — Poupaud in a grounded way, Ménochet playing lively and impassioned (and proving worlds away from his menacing turn in last year's Custody), and Arlaud serving up a simply haunting performance. By virtue of its savvy structure, By the Grace of God pushes this top trio and their real-life characters to the fore, ensuring that the consequences of letting abuse get swept under the pulpit are not just on display for all to see, but are thoroughly inescapable. https://www.youtube.com/watch?v=x-kwXK-SS3U
Melbourne native Fractures has been pretty busy in the last few months. He debuted at Splendour in the Grass, his October tour schedule was totally sold out, he just announced he's heading overseas next year, and now he's spending this month holed up in Sydney and Melbourne for two very intimate evenings. Up until only a few years ago Paddington Uniting Church was reserved strictly for church and community related events. Now it's a hot spot for those looking to bliss out to ambient electronic pop. The contemporary music program has allowed a new kind of visitor to embrace the space with its exciting music programs and inclusions such as The Future Sound of Yoga. And now, Fractures. He'll also be hitting up his hometown, of course. The Hallowed Ground tour continues at the Shadow Electric bandroom in the conspicuous nunnery turned arts space that is the Abbotsford Convent.
UPDATE, July 26, 2020: Charlie's Angels is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. The first line of Charlie's Angels circa 2019, uttered by a glammed-up Kristen Stewart, makes a statement. "I think women can do anything," Stewart's Sabina Wilson tells Australian Jonny (Chris Pang), responding to his smug assertions otherwise. Naturally, Sabina is swiftly forced to prove her point. The film she's in conveys this notion across its duration, too, although not always in the way that it intends. Written and directed by Elizabeth Banks (as well as co-starring the actor-turned-filmmaker), the third iteration of Charlie's Angels embraces the idea that women can do whatever they please — and, more importantly, that women needn't fit any mould. And yet, by emphasising these messages in a movie that's largely generic, there's an emptiness behind the film's empowering words. Sabina's altercation with Jonny is just the action-packed picture's opening punch. A year later, when computer programmer Elena Houghlin (Naomi Scott) seeks the Angels' help, the movie kicks its main narrative into gear. Meeting with Bosley (Djimon Hounsou), Elena explains that she's been working on a revolutionary clean-energy project, but it can be weaponised — and, just as it's about to hit the shelves, her boss (Nat Faxon) is hiding that fact from his boss (Sam Claflin). When, mid-conversation, a tattooed henchman (Jonathan Tucker) starts shooting Elena and Bosley's way, the main Angels swoop in. Soon, Sabina and no-nonsense ex-MI6 agent Jane Kano (Ella Balinska) are protecting Elena, trying to save the world and showing their new friend the wig-wearing, outfit-changing, globe-trotting, go-get-'em-girl spy ropes. Four decades since the initial Charlie's Angels hit the small screen, and nearly 20 years after the first two films brought the concept to cinemas, this feisty espionage franchise sports a few superficial changes. Like Men In Black (albeit far more convincingly), the Angels have gone international in this reboot-slash-revival (it introduces a new team, but exists in the same world as its predecessors). Plus, Bosley is now a rank rather than a specific person. So, Patrick Stewart also plays a Bosley. He's the retiring senior figure, as well as the man who spread the organisation's wings. Banks is a Bosley too, with her character overseeing Sabina, Jane and Elena's mission, singing day drinking's praises and stressing that there's nothing wrong with needing a hug in a time of crisis. That sentiment from Banks also makes a statement — one that's as crucial as KStew's opening words. Charlie's Angels is guilty of including a few easy female stereotypes (a love of cheese and a fondness for big wardrobes, for example); however it also highlights that being formidable and being vulnerable aren't polar opposites. From Farrah Fawcett, Jaclyn Smith and Kate Jackson to Drew Barrymore, Lucy Liu and Cameron Diaz, viewers have already seen previous Angels demonstrate different strengths and play dress-up as different kinds of women. Here, they let their multi-faceted personalities shine. Each of the new Angels does this in their own way, and it's a meaningful touch. It's also something that isn't always part of the 'strong female lead' package, with Hollywood frequently struggling to realise that proficient and powerful women aren't one-dimensional. With that in mind, Stewart, Balinska and Scott make a lively crew. While Stewart provides the off-screen star power, the three actors share the on-screen spotlight. Indeed, although Stewart is set up to steal scenes as the goofiest member of the group — playing against her usual type of late (see: Clouds of Sils Maria, Certain Women and Personal Shopper) — her co-stars make as much of a splash. Balinska cracks Jane's stern exterior, but never lets either her tough or open sides seem like a flaw. Scott, already a standout in this year's live-action Aladdin remake, plays the awkward but capable newcomer with charm. Banks often saddles the three leads with stating the obvious and relaying exposition, but they're a trio that audiences won't mind spending time with. And, in resurrecting a decades-old property, that's really the movie's main point. It's an incredibly timely moment to be back in the Charlie's Angels game, as Banks clearly recognises, but her task isn't simple. Sitting in the director's chair for the second time (after Pitch Perfect 2), she's charged with updating the series in-line with today's #MeToo mindset, and also reviving a potential cash cow. Filmmaking is a business, so the second part of the equation was always going to weigh heavier than the first for Sony. Cue action scenes that, though energetic and well-executed, rarely leave an imprint — especially given that nicely choreographed espionage antics are oh-so-common cinema fodder these days. Cue an overall mood that's perky, dips into thoughtful territory, yet still has a noticeable cookie-cutter vibe. And, of course, cue an engaging-enough but inescapably standard movie that's primarily here to whet appetites for more sassy girl-power antics to come. Yep, amidst the many things that women can do, they can star in passable franchise scene-setters as well. https://www.youtube.com/watch?v=yKeRgPPQcoc
Could this be the most colourful museum in the world? In the 35 years since its inception, the Mardi Gras has been the site of not only liberation and artistic extravaganza but also fiery controversy. This year, there's a push to establish a Mardi Gras Museum, starting off with a temporary exhibition of Sydney's queer history. Take a wander through the spectacular events and extraordinary lives that have contributed to making Sydney's proudest parade what it is today. Read the rest of our ten best things to do at Sydney Mardi Gras.
Lurking behind every 18th birthday, beyond the alcohol legally drunk and nightclubs gleefully danced through, is an unspoken truth: life only gets more chaotic from here. That realisation doesn't usually spring during the celebrations, toasts and happy speeches of the big day itself — or necessarily within weeks, months or even a few years afterwards, either — however, it's inescapable nonetheless. In To Chiara, it blazes brightly for the movie's eponymous teenager (Swamy Rotolo). It shatters her sense of normality, too. But she isn't the one hitting the milestone that every adolescent yearns for. Instead, the party that helps start this Italian drama is actually for the 15-year-old's elder sister Giulia (Grecia Rotolo), with the pair's friends and relatives alike marking the occasion as countless other families have: with dinner, festivities and delighted emotions. As captured with a raw, fluid and naturalistic style like everything that both precedes it and follows, Giulia's birthday is a portrait of exuberance — until, for Chiara, it isn't. She plays up a garden-variety case of sibling rivalry, including during a performative dance contest. She revels in still being her doting dad Claudio's (Claudio Rotolo) favourite. And she thinks nothing of sneaking outside to have a smoke, only slightly worrying if her father will find out. But it's there, cigarette in hand, that Chiara watches her uncles get into a verbal scuffle outside. Then, in the aftermath, she spies her doting dad rushing off to deal with the fallout. Also, later that evening, perturbed by the feeling that something isn't quite right, it's Chiara who witnesses the family car explode outside their home, and spots Claudio fleeing under the cloak of darkness. The newest neo-realist film by Italian American writer/director Jonas Carpignano, To Chiara is also his third set in the Calabrian region, in the small coastal town of Gioia Tauro. It's the latest entry in a series that explores the area's mix of residents, segueing from refugees from North Africa in 2015's Mediterranea to the Romani community in 2017's A Ciambra, and now to the 'Ndrangheta. Call the latter the mafia, call them an organised crime syndicate, call them just part of living Southern Italy — whichever you pick, Chiara has always just considered them her loved ones without knowing it. Learning how her dad pays the bills and why he's now a fugitive, gleaning that her mother (Carmela Fumo) must be aware, trying to uncover where Giulia stands, attempting to cope with everything she thought she knew crumbling in an instant: that's what this gripping and moving film has in store for its young, headstrong, understandably destabilised protagonist from here. From the moment that Chiara begins to make her big discovery — piecing together the details stubbornly, despite being warned that her questions won't have welcome answers — it's easy to recognise why such a tale fascinates Carpignano. It's the story that sits in the shadows of other gangster flicks and shows, because so many are also about the bonds of blood; in decades gone by, it could've been Mary Corleone facing the same situation in The Godfather franchise or Meadow Soprano doing the same in The Sopranos. To Chiara also unfurls the ultimate tale of innocence lost, forever fracturing the bubble of an idyll that Chiara has spent her life inhabiting without ever realising, and causing her to now see the parent she has always adored in a completely different light. Nothing signals leaving childhood behind, no matter your age, more than having the entire foundation for your existence shift, after all. As gleams fiercely in its phenomenal lead's eyes, nothing is more devastating, either. Working with cinematographer Tim Curtin, as he did in A Ciambra — actors from which also pop up here, too, when Chiara starts expressing her shock via destructive outlets — Carpignano rarely ventures far from his protagonist. While film doesn't merely play out in close-ups, it'd be something else entirely without the deep and intimate gaze it holds with the teen, and the way it lets audiences stare into her soul as a result. Sometimes gliding, sometimes jittery, the handheld camerawork matches Chiara's inner state. Whether she's demanding answers from Giulia or following secrets into hidden spaces, every visual touch is aligned with her energy and her emotions, in fact. The score by Dan Romer (Dear Evan Hansen) and Benh Zeitlin (Carpignano's Mediterranea, and also his own Beasts of the Southern Wild) vibrates on the same wavelength as well, but To Chiara is always a movie about perception — and how it observes its titular figure, and also mirrors how she discerns the world around her, is oh-so-crucial to the feature's stunning impact. And, from its heady early moments to its poignant ending, this is indeed a stunning film. It's also a picture anchored by a remarkable lead performance — a jewel among a glimmering cast, all nonprofessional actors, as Carpignano has drawn upon for this entire trio of movies. As their names make plain, the talents behind To Chiara's main characters are all related, and all let that inherent comfort with each other calm and complicate their on-screen dynamic. Swamy Rotolo is nothing short of revelatory, though. Playing someone who once felt like she was sliding smoothly through the world, only to find that her fortunate status quo is slick not from luck, love or joy but the spoils of the criminal underworld, she's sincerely dogged and desperately uncertain at once. She sports the invincibility of youth, and also the pain when that facade fractures. That she often looks and feels like she could've stepped out of another female coming-of-age gem, Mustang, is the highest of compliments. Just as convincing: the slow-burning feature's delicate balancing act, with To Chiara careful not to judge or champion anyone's choices, or the path that's led some Gioia Tauro locals to the 'Ndrangheta, or to make its namesake a hero or a victim. Weighing up the two sides of the equation — the privilege and prejudices that Chiara didn't openly know she had and their sources, plus the stakes, costs and future ramifications of living a life tainted by crime — is the movie's central figure's task, which she navigates through emotional outbursts, tense glimpses inside her town's underbelly, on-the-ground forays into her father's reality and legally mandated foster-care arrangements alike. Accordingly and fittingly, when another 18th birthday party rolls around to bookend the deserving Cannes Film Festival 2021 Best European Film-winner, the idea that adulthood is chaos takes on a different tone. To Chiara never shakes that notion or tries to dispel it, but instead grapples and lives with it, and makes for potent and resonant viewing in the process.
Something's afoot at the ol' Broadway corner pub — the Lansdowne is set to close after this weekend. But it's not what you think. The red flags went up yesterday with some sleuthing by theMusic.com.au, that planned gigs at the hotel have been moved to other Sydney venues for the month of February without explanation. But the hotel is only closing the bandroom, as stated by their Facebook page today. Making its mark as one of Sydney's key live venues since changing ownership in April 2014, the Lansdowne has experienced somewhat of a genuine revival over the last year. Revamped by new owners the Oscars Group (also the brains behind last year's Annandale Hotel renovation), the Lansowne has been home to free, well-programmed live music and cheap, cheap steak every week for a a good ten months. Brows started perspiring yesterday, as theMusic.com.au reported the imminent closure of the pub for a possible four months, with scheduled shows from the likes of The Laurels, Daily Meds and Grenadiers all moved and the pub's bookers told not to book any further live gigs. But the Lansdowne Hotel's not going anywhere. The pub's Facebook page issued this comment: "RELAX- WE'RE NOT CLOSING!!!! Despite many rumours, keep calm we are NOT in fact closing. While there are renovations only the bands will be off, our doors will remain open for you!!! And YES, there will continue to be live music after the renovations." The Hard-Ons and Born Lion will play the final February gig this Saturday night. If you're planning to head to the Grenadiers, The Laurels or Daily Meds shows, check their Facebook pages for new details. Image: Lansdowne Hotel.
UPDATE: July 17, 2020: Aquaman is available to stream via Netflix, Foxtel Now, Google Play, YouTube and iTunes. Not since the screaming spider of Arachnophobia has there been something so ridiculous as a shark that roars. Then again, this is a film that also gives a bedazzled octopus a drum solo, so where does one draw the line? Welcome to Aquaman, a movie that chooses all the wrong places to play it safe, and all the weirdest ones to, well, be weird. It's a shame, too, because DC had a good opportunity here to turn things around for its ill-fated Universe. The ingredients were solid: a charismatic and sexy leading man (Jason Momoa), an unconventional hero with an appealing no-fucks-given attitude and, best of all, a generous amount of distance between itself and the woeful Justice League that preceded it. Add to that the relegation of DC veteran director Zack Snyder to a producer credit and Aquaman was neatly positioned to carve out another potentially lucrative sub-franchise in the vein of Wonder Woman. Instead, it delivers another special effects-laden delirium whose plot is both convoluted and dull. It's an origin story of sorts, albeit one set after Aquaman's formal introduction in Justice, with the film's opening scenes providing an engaging balance of history and action. We learn Aquaman (born Arthur) is the result of a star-crossed romance between lighthouse keeper Tom (Temuera Morrison) and self-exiled Atlantean royal Queen Atlanna (Nicole Kidman), whose semi-literal fish out of water routine offers the film both some amusing and tender moments (as well as a kick-arse fight scene from out of nowhere). Arthur's burgeoning powers are seldom explored, however, and the occasional training or education flashbacks offer none of the excitement or moral dilemmas that are custom-built for superhero origin stories (Clarke Kent not beating up his bullies in Man of Steel but then saving a busload of kids, including the bullies, being a prime example of the device done properly). Aquaman's powers are extreme, and extensive, yet they're rarely explained. How is it, for example, that in addition to his aquatic properties he's essentially bullet-proof? Doubtless all answers lie in the comic books, but a movie can't rely so heavily on its source material that it obviates at least some screenplay hand-holding. The problem is, Aquaman chooses to do its exhaustive exposition not for the fun stuff like talking to fish, but for dry factional politics between its secondary characters (a near-identical mistake to that made by George Lucas in The Phantom Menace). It also falls into the ridiculous trap of establishing a world full of aliens and monsters, then denying their very existence for the sake of artificial conflict. To wit, it makes absolutely no sense to have conservative TV pundits in the vein of Fox News panelists saying things like "Atlantis!? Please! It's a myth!" when they all live in a world that openly acknowledges the existence of Super Man, and Wonder Woman, and The Flash, and Cyborg, and Steppenwolf and a whole bunch of invading aliens (some of whom previously levelled several cities and tried to terraform the Earth). Given those realities, a lost city seems entirely plausible by comparison. On the plus side, Momoa owns every scene he's in, assisted by a solid turn from Amber Heard in a role that's entirely warrior princess and zero damsel in distress. It's also comfortably the brightest and most colourful DC film to date, delivering visuals that wouldn't feel out of place in Blade Runner. Too often, though, director James Wan takes the focus away from Momoa and Heard, favouring instead either long-winded pontificating from the villain Orm (Patrick Wilson) or CGI-heavy action that never even comes close to looking real. It's an entertaining ride and a refreshing break from the Snyder-driven darkness/slow-mo aesthetic that has long felt stale. But the only character you ever really care for is Arthur's father, and his story receives the least amount of time of all. Aquaman is one small step forward for DC, but one giant leap missed for the Universe. https://www.youtube.com/watch?v=WDkg3h8PCVU
You might remember One Day Sundays for its legendary monthly hip hop block parties, which took place around Sydney before the pandemic. After a few years' hiatus, the One Day Sundays crew is back to bring you an unforgettable shindig this long weekend. Partnering up with touring agency Niche, the collective is presenting Daybreak from 2–9pm on Saturday, April 23 — with the event taking you from day to night in the Ivy courtyard. Daybreak will showcase some of the country's most exciting musical talents. Don't miss the debut DJ set from western Sydney producer OPEN TILL L8, whose work you might recognise on Youngn Lipz and Kerser tracks. There will also be vocals from Sahxl and Pania, plus Babyface Mal. And, you'll be able to plenty of live beats from a lineup of Sydney's top DJs, who'll be playing rap, R&B, drill and afrobeats on the Ivy's world-class sound system. So, it's a two-for-one kind of event, letting you discover some rising talent in the Australian hip hop scene while enjoying a much missed One Day party. Tickets are on sale now, but are selling out fast — so get in quick.
Though it's true that nothing is really 'like' anything else, Eliza Doolittle gets compared to Lily Allen and Amy Winehouse an awful lot. Doolittle doesn't like it. And, though they sometimes share a producer, neither does Allen. In fact, Doolittle is probably closer to Norah Jones — a strong, clear new voice suddenly cutting its way out across the heavily engineered landscape of pop. Her song Pack Up samples a version of Pack Up Your Troubles and catchy Skinny Genes is a sweet, gentle lullaby about getting it on. Doolittle writes simple-sounding fifties tunes, and she tops the British charts while doing it. Though she's shown she can swear, her lyrics are usually so clean that she has her backup blokes whistle to cover up the rude bits, even while the subject matter of her songs is anything but clean. Tuesday night Eliza Doolittle will be headlining at the Oxford Art Factory, supported by Lanie Lane, who croons Andrews Sisters-style ukelele songs on her huge blues guitar, Betty. Doolittle's star is rising. Her next visit to Sydney probably won't be so low key, but if you're quick enough this week, you can say you heard her first. https://youtube.com/watch?v=qxqtnWwLxYI
Nominated for the Golden Globe for Best Foreign Language Film, family drama The Past is writer-director Asghar Farhadi's first film since 2011 release A Separation, one of the most critically lauded films of the past decade. It begins with Ahmad (Ali Mosaffa) arriving in Paris from Tehran to finalise divorce proceedings with Marie (Berenice Bejo). He wanted her to book him a hotel — she hasn't, the first crack in the veneer of politeness. Temporarily back at his former home after a four-year absence, he finds Marie is now living with Samir (Tahar Rahim). The home is a mess of wet paint and half-finished renovations, as though in the process of removing any trace of Ahmad's time there. Ahmad has to share a room with Samir's eight-year-old son, Fouad (Elyes Aguis), who is acting out because of his confusion about the divorce. Ahmad snipes at Marie about this arrangement and the ensuing bickering bothers Samir, who senses there is something too familiar about their disagreements, that the feuds have the tone of a couple with unfinished business. Meanwhile, Ahmad's teenage daughter, Lucie (Pauline Burlet), has become unhappy and is often absent from home, largely because of the circumstances of Samir's split with his wife and his new relationship with her mother, as well as her own guilt at a train of events she believes she has set in motion. The Past starts off being about the final dissolution of Ahmad and Marie's relationship and the messy, unsatisfying experience of formally ending their marriage, but the story soon spirals off into something else entirely. Just when one strand seems to have exhausted itself, another complication arises, adding to the tragic mess these characters find themselves in. Yet while it is a film of revelations, there is never hint of melodrama and the story unfolds with complete, compelling realism. The small details are incredibly well-observed: one scene where Samir asks Lucie to pass him a kettle and she holds it so he has to scald his hands on the hot surface speaks volumes of their relationship, as does his almost comically stoic refusal to acknowledge what is happening. Another scene places Ahmad and Samir at a table together and watches as their silence and awkward refusal to engage with each other grows into something almost painful. Berenice Bejo won the Best Actress award at Cannes for her committed performance here, but The Past is a true ensemble piece with Burlet exceptional as the shell-shocked, troubled Lucie and Rahim having some brilliant moments as his Samir develops from being a sullen figure annoyed by the arrival of his lover's ex-husband into something much more layered and complex. A film that is rarely less than compelling for its entire running time, The Past gets even better in its wrenching unforgettable final scene, which is all the more emotionally powerful for unfolding at a glacial pace. Acting as both a haunting coda to proceedings and shedding new light on the motivations of its characters, it is an overwhelming last gasp of a truly great film. https://youtube.com/watch?v=Z2-_lt4kwXE
For Sydneysiders living in the city's Local Government Areas of concern — aka areas that have experienced higher locally acquired COVID-19 case numbers during this Delta outbreak — tighter rules have been in place for much of this ongoing lockdown. Folks in these spots are currently under an overnight curfew between 9pm–5am, are only permitted to travel five kilometres from their homes unless there are exceptional circumstances, and must wear masks whenever they leave the house. For the past few weeks, residents in hotspot LGAs have only been able to go out of their houses to exercise for one hour per day, too; however, New South Wales Premier Gladys Berejiklian has just announced that that rule is about to be lifted. Today, Thursday, September 2, the Premier Gladys revealed that LGAs of concern will no longer have a one-hour cap on daily exercise from 5am on Friday, September 3. Instead, residents in these areas will be permitted to go out for as long as they like to work up a sweat — albeit still under the five-kilometre rule, and only between 5am–9pm given that the curfew is still in effect. When it kicks in, the change will apply to people who live in the Bayside, Blacktown, Burwood, Campbelltown, Canterbury-Bankstown, Cumberland, Fairfield, Georges River, Liverpool, Parramatta and Strathfield LGAs, as well as 12 suburbs in the Penrith. So, if that's you, you'll be able to spend more time outdoors this weekend — and moving forward. From 5am tomorrow (Friday) morning, exercise will no longer be limited to one hour in the local government areas of concern. The curfew will still apply, but exercise is unlimited outside of those hours. — NSW Health (@NSWHealth) September 2, 2021 The rule does still only cover exercising. Outdoor recreation — so, "sitting for relaxation, or to eat, drink or read outdoors", as defined by the NSW Government rules — isn't yet allowed in hotspot LGAs. But it'll be back on the cards from 12.01am Monday, September 13, as part of the state's slight easing of outdoor gathering rules. From that point onwards, families with fully vaccinated adults in LGAs of concern will be able to go out together for an hour of outdoor recreation, in addition to your exercise time each day, while still abiding by the curfew and the five-kilometre rule. The change to exercise restrictions in hotspot LGAs was announced as NSW reported 1288 new cases in the 24 hours to 8pm on Wednesday, September 1. The NSW Government intends to loosen more rules for fully vaccinated people across the state once 70 percent of residents have had two jabs, which is likely to include being able to go to hospitality venues and outdoor events — and is expected to happen around mid-October. That said, the exact details of those relaxed settings hasn't been revealed yet, and neither has how they'll apply in LGAs of concern. Residents in Sydney's LGAs of concern will be able to enjoy unlimited exercise — as long as they abide by the five-kilometre rule and the curfew — from 5am on Friday, September 3. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
If you're in Western Sydney, you can head to Circa Espresso for one day only on Saturday, August 28 to get a taste of Tokyo Lamington. The cafe tucked away on Wentworth Street will have an array of some of the inner west bakery's most popular flavours, as well as a special one-off collaboration with Circa. The 'Love Cake' Lamington is a recreation of Circa Espresso's beloved Persian love cake in lamington form that sees vanilla sponge cake dipped in rose white chocolate and topped with coconut, rose petals, almond and pistachio. Tokyo Lamington's Min Chai and Eddie Stewart have been on a mission to make the humble lamington world famous. After selling lamingtons in Singapore and Tokyo, they brought the brand to its home country, launching a store in Newtown last year. While this meant inner west locals were suddenly flocking to try Tokyo Lamington's inventive takes on the Aussie dessert, these next-level treats have still been hard-to-reach for many Sydneysiders. Now with the city in lockdown and residents confined to their five-kilometre radius, Tokyo Lamington is taking steps to ensure a few more Sydney dessert fans can indulge their sweet tooth. While you're there you can pick up a coffee made with Circa's house coffee beans, or a selection from the cafe's lockdown takeaway menu. Lamingtons will be available from 8am.
Let's get this straight. Hamlet is, in fact, a princess who may or may not be gay. Her passion for Ophelia may or may not be physical — it could simply exemplify the pleasures and perils of girls' friendships. Hamlet may or may not be descending into madness — or just waxing depressed. Lacking parental permission to speak the truth — or cultural consent to acknowledge conflict — she must resort to covert looks and contrived conduct to express her turbulent feelings. The question of whether "to be or not to be" is not a gender specific question; acting with courage and conviction is crazily complicated when you're a privileged but essentially powerless teenager. The question is no longer whether “to be or not to be,” it is how “to be” when we must live with the consequences. Hamlet, Ophelia, Horatio, Rosencrantz and Guildenstern are adolescents coming to terms with the depressing realisation that society is just as corrupt, venal, mendacious and shallow as it was when Shakespeare wrote his great tragedies over four hundred years ago. They are disillusioned and given to existential self-interrogation, pondering cause and consequence, the blurred penumbra of moral ambiguity. Naomi Edwards' great accomplishment as director is to take this familiar milieu and reinvent it into a play that is compulsively watchable. The easy adage that the need for reflection conflicts with the impulse to act is illuminated with new meaning as Hamlet desperately tries to understand the adult world of pragmatism versus ethics. Hamlet sometimes seems less introspective about her failure to kill Claudius than about her failure to take her own life. It’s a funny, angry, moving performance from the versatile Sophie Ross that is as entertaining as it is thought-provoking. Rosencrantz and Guildenstern provide the much needed tomfoolery and dirty innuendo to lighten up the extremity of her angst. Hamlet's tragedy centres on her inability to reconcile rationalism and faith with politics and personal principles.
This winter Sydney will once again be transformed into a vibrant canvas for light, music, art and ideas during the 2011 Vivid Sydney festival. Approaching its third birthday, Vivid Sydney promises to be infused with more creativity and innovation than the city has ever seen before. The Fire Dance display in Campbells Cove is just the beginning of what Vivid Sydney has to offer. A playful show of flaming geysers will perform five times each night of the festival, the flames strong enough to spread a little warmth to viewers admiring from the harbour in the chilly winter air. You won't believe your eyes as the streets, skyscrapers and sidewalks become the stage for breathtaking light shows and installations after dark, illuminating every nook and cranny of the city from the sails of the Opera House to the walls of the iconic Customs House. This year, the festival is even infiltrating various storefronts, restaurants and bars throughout The Rocks that will have special Vivid window displays, menus and cocktails. To top it all up there's Vivid Live, an extraordinary lineup of eclectic bands and performances that will be on throughout the festival, all coordinated by Modular's Stephen Pavlovic. This lineup is bound to have something for everyone. Among the hit acts announced to perform are Bag Raiders, Architecture in Helsinki, the Yeah Yeah Yeahs, Wolfmother, The Avalances, Tame Impala and the Presets. And that's not even half. Vivid Sydney 2011 has the potential to break all boundaries of festivals across the globe, and the coming months of preparation will no doubt show the world why Sydney is unquestionably the creative hub of the Asia Pacific. Stay tuned. For Vivid Live pre-sales, click here.
Write a Brisbane-set book. Score a hit on the page. Then, see your words take to the stage, then the screen. That's how life went for Trent Dalton with Boy Swallows Universe. Next, going as far as treading the boards for now, that's also his path with Love Stories. Queensland Performing Arts Centre and Brisbane Festival have just announced that another of Dalton's books is getting a stage adaptation. As the play version of Boy Swallows Universe did, Love Stories will premiere at Brisbane Festival, with Tim McGarry penning the script and Dalton contributing additional writing. Fiona Franzmann will also contribute, while Sam Strong is directing. If much of this combination sounds familiar, Strong and McGarry also brought Eli Bell's antics to the theatre when it hit QPAC first. Their stage adaptation of Boy Swallows Universe wasn't just a smash — it's still the venue's bestselling drama ever. [caption id="attachment_944825" align="alignnone" width="1920"] Trent Dalton, Fiona Franzmann, Sam Strong and Tim McGarry. Image: Lyndon Mechielsen.[/caption] Fans won't have to wait long to see the end result for Love Stories, with the production set to have its world premiere in spring 2024, playing QPAC's Playhouse from Tuesday, September 10–Sunday, September 29. As for who'll be bringing it to life onstage, Jason Klarwein plays a writer and husband, while Michala Banas is his wife. They're both based on married couple Dalton and Franzmann. Also in the cast: Rashidi Edwards as Jean-Benoit, a Belgian busker who is also the show's narrator. Kimie Tsukakoshi, Jeanette Cronin, Mathew Cooper, Bryan Probets and Harry Tseng round out the acting talent from there, as joined by dancers Jacob Watton and Hsin-Ju Ely. The production will set its scene from the corner of Brisbane's Adelaide and Albert streets — and if you've read the book, you'll know why. Dalton wrote the 2022 Indie Book Awards Book of the Year-winner by heading to a corner in Brisbane's CBD, Olivetti typewriter in hand, and asking folks walking by for their tales. His question: "can you please tell me a love story?". Accordingly, this is another love letter to Brisbane, as Boy Swallows Universe is. This time, however, it tells true tales about romance and life. The aim is for it to be joyous but poignant, humorous but dramatic, and to be sentimental about Brisbane while telling a range of diverse love stories. [caption id="attachment_944824" align="alignnone" width="1920"] Trent Dalton and Franzmann. Image: Lyndon Mechielsen.[/caption] "It's a rare and wondrous thrill to see one's words brought to life in the boundless universe of Australian theatre. It's an even greater thrill to see the love stories of so many not-so-ordinary real-life Queenslanders given such reverence and weight," said Dalton. "I've already had the great honour of informing many of the storytellers who so kindly told their stories to me on that corner that their words will now be retold in the most thrilling theatrical way by the most gifted team of creatives. These beautiful people who come from every corner of Queensland are just as excited as I am." [caption id="attachment_935699" align="alignnone" width="1920"] Trent Dalton, Simon Baker, Phoebe Tonkin, Felix Cameron, Lee Tiger Halley, Bryan Brown and Travis Fimmel at the premiere of Boy Swallows Universe. Image: Jono Searle/Getty Images for Netflix.[/caption] "Love Stories the show will be filled with everything that people adore about the book (and Trent's work) — beautifully specific Brisbane stories that speak universal truths, undeniably unforgettable people, and stories that sometimes break our hearts but always fill them," added Strong. "In translating Love Stories into the theatre, we're also building on the original. Trent and Fiona's own love story, which interweaves through the book, has been expanded by them for the stage show. In addition, we're including some of the incredible love stories that have been shared since the book was published." There's no sneak peek available for Love Stories yet — images, trailer or otherwise — but check out the trailers for both the stage and versions of Boy Swallows Universe in the interim: Love Stories will play the QPAC Playhouse, South Brisbane, from Tuesday, September 10–Sunday, September 29, 2024 as part of Brisbane Festival. Head to the venue's website for tickets and further details. Images: Netflix / Lyndon Mechielsen.
Another year, another Archibald Prize forced to adapt to these pandemic-afflicted times. After the 2020 award was delayed due to COVID-19, this year's gong was handed out as normal — but now the Art Gallery of NSW exhibition that always follows has been impacted by Greater Sydney's current lockdown. So, the folks at AGNSW have released a virtual version of the popular showcase, which means both at-home Sydneysiders and folks around the rest of the country can view 2021's top portraits from their couch. The 360-degree experience lets you tour the exhibition at your own pace, and see its works as they appear within the gallery space. You can learn more about the pieces along the way as well, thanks to clickable hotspots that provide information about each artwork. Every year for the past century, the Archibald Prize has recognised exceptional works of portraiture by Australian artists. In 2021, from a field of 52 finalists, the coveted award has gone to Melbourne-based artist Peter Wegner for Portrait of Guy Warren at 100. A unanimous decision by this year's judges, Wegner's portrait of the centenarian and fellow artist obviously won the gong in a fitting year. "Guy Warren turned 100 in April — he was born the same year the Archibald Prize was first awarded in 1921," Wegner said. "This is not why I painted Guy, but the coincidence is nicely timed." Wegner's win came after an equal number of works from both male and female artists made the finalists list for the first time in Archibald history — all of which you can now scope out from home, alongside entries and winners for the Wynne and Sir John Sulman prizes, too. Across the three prizes, 2144 entries were received this year, which is the second-highest number ever after 2020. And, the three prizes received the highest-ever number of entries from Indigenous artists. If you don't agree with the judges, you can also cast your own vote for the People's Choice Award before 5pm on Sunday, August 29. [caption id="attachment_814784" align="aligncenter" width="1920"] Archibald Prize 2021. Peter Wegner, 'Portrait of Guy Warren at 100'. Oil on canvas, 120.5 x 151.5 cm. © the artist. Photo: AGNSW, Felicity Jenkins. Sitter: Guy Warren.[/caption] Top image: Archibald Prize 2021 finalist. Kirsty Neilson, 'Making noise'. Oil on linen, 50.1 x 60.1 cm, © the artist. Photo: AGNSW, Felicity Jenkins.
If you've already started planning which all-white outfit you'll be wearing to Sydney's Diner en Blanc, you may want to consider preparing two ensembles. Diner en Blanc has partnered with Marriott International and is throwing not one but two soirees this year. The inaugural Cocktails et Cuisine en Blanc — which doubles as a launch for Diner en Blanc and a chic cocktail party — will feature exquisite French fare, bespoke all-white cocktails, live music and all the decadence and debauchery you would expect. Held at the Sydney Harbour Marriott, there won't be any guessing game as to how to get to the Cocktails et Cuisine en Blanc event — plus you'll be able to leave your plastic chairs and BYO picnic at home for this one. On the night, you'll be treated to canape and cocktail packages to inspire your menu for the actual event. And to ensure you're served the best of the best, the gourmet food and custom cocktails have been handcrafted by the teams at five participating hotels (Westin, Sheraton, Pier One, Marriott and Four Points by Sheraton). Keep an eye out for the all-white desserts from renowned, Michelin Star-experienced chef Raphael Szurek. And, if you enjoy this night of unfettered opulence, you can relive it as the days get warmer — the Diner en Blanc-themed food and drink will be available from now until January 26, 2019. Marriott International is also offering special accommodation packages at the aforementioned participating hotels so, if you need, you also have somewhere nice and close to the city to stay. Cocktails et Cuisine en Blanc will be held at 6.30pm on Thursday, October 11 at the Sydney Harbour Marriott. Registration via Facebook is essential.
When the Aunty team confirmed that Golden Plains would return in 2023 and locked in dates, it was huge news, with pilgrimages to the Supernatural Amphitheatre finally back on the calendar. Indeed, that was probably all the push you needed to enter the fest's ticket ballot, and start crossing your fingers that you score passes to the beloved sibling to Meredith Music Festival, no matter who ended up on the bill. That online ballot has been extended, now running until 10.15pm AEDT on Monday, October 24. Also, the Golden Plains lineup is now here, too. Bikini Kill, Carly Rae Jepsen, Soul II Soul and Four Tet lead the charge, in what's shaping up to be a huge comeback fest from Saturday, March 11–Monday, March 13, 2023. [caption id="attachment_874299" align="alignnone" width="1920"] Debi Del Grande[/caption] Bikini Kill are playing Mona Foma as well, in what'll be the iconic Kathleen Hanna-fronted, Washington-formed, Riot Grrrl movement-instigating group's first Australian show in more than 25 years. Calling all rebel girls, obviously. If you aren't making the trip to Tasmania in February, you can now see them at Golden Plains in March. Carly Rae Jepsen's inclusion on the bill likely now has 'Call Me Maybe' stuck in your head, but that isn't all that's on the Canadian popstar's discography. And Soul II Soul's spot on the lineup is massive, given the British musical collective have been doing their thing since the late 80s, and also helped change UK club culture. Alongside Four Tet, they're joined by Mdou Moctar, Angel Olsen, Rolling Blackouts Coastal Fever, Brian Jackson and more, in what's clearly a gloriously eclectic lineup. Catering to 12,000 punters each year across three days and two nights, Golden Plains has long proven a favourite for its one-stage setup, which skips the need for frantic timetabling. Meredith is also returning, as announced in August, with Caribou, Yothu Yindi and Courtney Barnett leading the lineup from Friday, December 9–Sunday, December 11, 2022. GOLDEN PLAINS 2023 LINEUP: Bikini Kill Four Tet Carly Rae Jepsen Mdou Moctar Soul II Soul Angel Olsen Rolling Blackouts Coastal Fever Brian Jackson Overmono (live) Earthless Rochelle Jordan Methyl Ethel Kokoroko Andrew Gurruwiwi Band Stiff Richards Armand Hammer Soichi Terada Jennifer Loveless Rick Wilhite Freya Josephine Hollick E Fishpool Mulalo Delivery Golden Plains will return to the Meredith Supernatural Ampitheatre from Saturday, March 11–Monday, March 13, 2023. Head to the festival's website for further details, or to enter the ballot before 10.15pm AEDT on Monday, October 24. Top image: Theresa Harrison.
Do you need a winter hangover cure the entire family can enjoy? You’re in luck, ‘cause Festival of the Winds is here to nurse the headache at Bondi Beach this Sunday, September 14. Colourful cartoon characters, giant animals and flowers, fighter kites, box kites, delta kites and more are scheduled to appear at the festival, which kicks off at 11am on what we hope will be a sunny spring day. Internationally renowned kite flyers (yes, they exist) will be boasting some pretty spectacular flying skills with their handmade creations. So dust off that kite you packed away at age ten and show off your (probably rusty) flying skills, or join in on one of the kite-making workshops on offer throughout the day. But this isn’t just a day for kite enthusiasts; there’ll be loads of dance workshops, puppet shows and a whole lot more that both children and the nostalgic can enjoy.
For Australian music fans, Triple J's Hottest 100 is the most important event of the calendar year — followed closely by the date Splendour in the Grass tickets go on sale. With so much at stake music-wise, nominating yourself as host for the Hottest 100 party — and deciding what to serve — can be a daunting task. So, we've teamed up with BWS to ensure you snag a sausage that pairs perfectly with your Hottest 100 picks — a banger for your banger, if you will. Plus, if you share a snap of your snags to Instagram (post or story) and tag BWS, the company will donate $1 for every sausage in the picture to GIVIT. How good. So, before you head to the shops to get the supplies, hit this list to make sure you select savoury cylinders that are as tasty as your favourite tunes. 'GET MY OUT' BY KING STINGRAY Fans of this track by King Stingray are likely to have found themselves in one of two circumstances in 2021: a seemingly unending lockdown in one of our major cities or in a garbage job that they were ready to give the middle finger to. In our opinion, lovers of a song called 'Get Me Out' deserve a snag that'll set them free. If that's you, we can't go past the free-range frankfurters from Paddock to Plate. 'HERTZ' BY AMYL AND THE SNIFFERS The high-octane energy of Amyl and the Sniffers requires a snag that'll live up to the band's turbo reputation and gets the job done without too much fuss. And, since we're matching it with a title that measures frequency, we believe quantity is important, too. Our pick for Sniffers fans is a value pack of snags that are a staple at all good sharehouse barbecues and Bunnings sausage sizzles — the 1.8 kilomgram value pack of thin snags from Woolies. These bangers have been proven to satisfy the masses and feel almost as good as fanging down a highway in a Hertz hire car. 'MAREA (WE'VE LOST DANCING)' BY FRED AGAIN.. AND THE BLESSED MADONNA If you voted for 'Marea (We've Lost Dancing)', there's a good chance you're the person at a party who dominates the dancefloor. Considering you'll be spending most of the day hurling your flesh prison all over the backyard, we recommend taking your snags in small doses to avoid tasting them twice. A 16-pack of chicken chipolatas are an ideal bite-size snag that you could probably woof down in one go if you really tried. Plus, given there are so many in the pack, you'll have plenty of fuel to sustain your dancing all the way to number one. 'LIE TO ME AGAIN' BY THE BUOYS If you're someone who wants to be lied to, a pack of the plant-based snags with the adjective 'beefy' in the title seem like the kind of misleading sausage that you'd be into. Unreal Co's six-pack of vegetarian beefy brats are perfect for people who want to feel hoodwinked by a sausage. Go on, gaslight yourself with this irresistible snag. It'll be just like when the person this song reminds you of did it, right? 'KIM' BY TKAY MAIDZA (FEATURING BABY TATE) A track that brings as much heat as 'Kim' by Tkay Maidza and Baby Tate calls for a snag that is as hot and spicy as the song itself. Our solution? The smoked chilli snags from Suzy Spoon's Vegetarian Butcher. These vegan sausages are both super delicious and pack a punch, much like the song in question. Big fan of chilli dogs? These are a quality meat-free alternative with a chorizo-like flavour for an added kick. 'GOLD CHAINS' BY GENESIS OWUSU Fans of Genesis Owusu aren't your run-of-the-mill music lovers. They boast a superior sonic palate and we suspect that this elite taste exists when it comes to the humble snag, too. Lovers of an award-winning artist will want an award-winning snag. And, if Kel Knight has taught us anything, winning sausage competitions is serious business. Our go-to is The Gourmet Sausage Company's award-winning artisanal pork and fennel bangers. 'STAY' BY THE KID LAROI AND JUSTIN BIEBER Voted for a collaboration this huge in the Hottest 100? You'll be needing a snag that has a minimum of three main ingredients in it for the countdown. There are plenty of combination sausages to choose from however we're of the firm belief that it's the chicken, feta and spinach variety that pairs perfectly with this sad banger. It's salty, smooth and surprisingly good — much like the Bieber x Laroi collaboration itself. 'DRIVERS LICENCE' BY OLIVIA RODRIGO So you spent 2021 rinsing Olivia Rodrigo's debut album Sour? Us too. And while we simply adored immersing in the rich teenage angst of the record, a track from an album with a title this tangy needs a sweeter snag to balance things out. We recommend a pack of honey-flavoured beef sausages. And if that's a touch too sugary for you, load them up with onions to ensure you get that all-important cathartic cry while slicing them up and belting out this tune. Want to support a good cause while you enjoy your bangers? Upload a snap of your snags to Instagram (post or story), tag @bws_au and use the hashtag #snagadonation to ensure a $1 for every sausage in the shot is donated to GIVIT. Just make sure your Instagram profile is set to public for your entry to be counted. For more information, visit the website. Images: Elliott Kramer.
In Joel Edgerton's second film as director and sixth as a screenwriter, the actor-turned-filmmaker also takes a role in front of the camera, as the head therapist at a Christian facility. Sporting a trim moustache and a prim-and-proper look that'd make Ned Flanders proud, Boy Erased's Victor Sykes claims to be able to make teens pray the gay away and embrace heterosexuality. The counsellor expresses little sympathy for his charges. He may also have personal experience with his field of interest, but belittling the kids in his care — and forcing them to unearth family skeletons to apportion blame for their sexuality — is his technique. Sykes is the unmistakable villain of the piece, and rarely more than one-note. And yet, the film he's in thankfully doesn't share the same overall obviousness. Gay conversion should be condemned. It's a horrific and inhumane practice that's somehow still part of life in the US as well as Australia. Worlds away from his filmmaking debut The Gift, Edgerton may paint his character in the most glaring of terms (and do a fine enough job doing so), but Boy Erased itself is much more evenhanded. In the second movie about the subject this year after The Miseducation of Cameron Post, the film directs its quiet but palpable anger towards those humiliating and persecuting queer teenagers in a misguided attempt to turn them straight. For anyone that seeks such services, it offers empathy. In a story about a college kid sent away by his preacher father and dutiful mother, that distinction is important. Based on Garrard Conley's memoir, just with the names changed, Jared Eamons (Lucas Hedges) is the well-rounded son of Arkansas pastor Marshall (Russell Crowe) and his wife Nancy (Nicole Kidman). Soon, he's also an unhappy attendee at the Love In Action therapy centre. After a horrific incident at school forces him to come out, his Baptist parents — and his dad, specifically — deem conversion the only option. Just what Jared and his fellow participants (including singer Troye Sivan and filmmaker Xavier Dolan) endure will threaten both his sense of self and his relationships. Edgerton may write, direct and act in Boy Erased, but one of his biggest achievements stems from how he treats the film's main characters. This is a sensitive, earnest, sombre and understated movie that's shot in neutral tones, and wants to explore what motivates folks like the Eamons. Rather than judge them, it tries to understand these people who clearly love their son yet still send him to a conversion camp. With Jared, the film doesn't shy away from the impact of his experience, the conflict it causes or the difficulties of being a gay teen in general. He's hurt and uncertain, and also defiant and determined. He wants his parents' love, but not the emotional torture he's put through with their approval. Eventually, he also wants to stop self-censoring his identity to please others. Of course, these characters aren't just creations on a page, jumping from Conley's recollection to Edgerton's dramatic script. Edgerton's other big coup with Boy Erased is evident in the portrayals that he nurtures out of his core trio of actors. Crowe grapples with the intersection of Marshall's faith and being a good father, while Kidman helps convey the punishing patriarchal constraints of religion, with both playing their parts in a textured and thoughtful manner. And as he proved in Manchester by the Sea and Lady Bird as well, the supremely talented Hedges excels at internalised performances. Indeed, his work here encapsulates Boy Erased at its best. If Edgerton's own near-cartoonish part represents the movie at its most blatant and furious, then Hedges embodies the complex emotions that swell in almost every scene. https://www.youtube.com/watch?v=BBZQ5F5T51I
When Kitchen by Mike shut its doors in Rosebery back in 2015, it left a very large, canteen-shaped hole in our hearts. Our spirits were lifted again when head chef and nutrition guru Mike McEnearney opened No. 1 Bent Street in the city, and Mike's next venture was announced over a year ago. Now the time has come again for renewed jubilation, because Kitchen by Mike is back. At the airport. While you will need to drop a little coin on an international flight to experience Mike's take on healthy, fresh and generous grub, for those familiar with the experience of trying to eat anything that will stay down at 6am while waiting in a pretty dreary surrounding, the new addition to the dining options is an absolute blessing. Opening today — Tuesday, March 7 — near much-publicised new venue The Bistro by Wolfgang Puck, Kitchen by Mike will be a fresh local alternative to the fast food chains dwelling at Sydney Airport. True to form, the all-day menu at the airport canteen will change depending on the seasonal, local produce that's available. After breakfast — which includes granola and a bacon butty — there'll be a couple of meat and fish dishes, like Mike's crispy pork belly and a za'atar roast chicken with harissa. On top of that, there'll be a vast array of the incredible salads that have come to be the staple of McEnearney's trade. There'll also be a few local wines on the list, including unique house red and white from McClaren Vale and Mudgee, respectively. For those intrepid travellers on the fly, Mike will also be serving up carry-on lunches packed fresh to order, and a smaller sample of tasty beverage to whet your whistle. And, if you've forgotten to pick up a few souvenirs to take with you, Mike's retail range of jams, chutneys and sauces will be waiting to save you from that particular awkward moment. Although it's not the readily available canteen of its Rosebery days, Kitchen by Mike is most definitely back, just at the small price of, you know, an overseas holiday. Kitchen by Mike is now open at Sydney's T1 International Terminal between gats 10 and 24 daily from 6am to 10pm.
By the time October hits, 3600 Australian pharmacies will be administering COVID-19 vaccinations with the Moderna jab. It's the third coronavirus vax to be used in Australia after AstraZeneca and Pfizer, with doses of Moderna arriving on our shores in the past few days — and now being rolled out to chemists nationwide. During the week beginning yesterday, Monday, September 20, 1800 pharmacies will receive their batches and start getting Aussies to roll up their sleeves for Moderna. Next week, from Monday, September 27, that number again will join the Moderna rollout. So, if you haven't had your jabs yet, you now have more options — both in terms of which vaccination to receive and where to get it. Exactly how many pharmacies will be stocked with Moderna in each state varies; however, Victorian Premier Daniel Andrews confirmed that 721 chemists across his state will be administering the shots from this week. Obviously, which pharmacists themselves are doing Moderna jabs also varies, but the Australian Government Department of Health's Vaccine Clinic Finder website lets you find where you can get it, or the other COVID-19 vaccines if that's what you'd prefer. Moderna's vax got the nod from Australia's Therapeutic Goods Administration back in August, with the TGA advising that "the Moderna COVID-19 vaccine has shown strong efficacy preventing symptomatic COVID-19 and severe COVID-19 in clinical trials." In early September, it was approved for 12–17-year-olds, too, meaning that it's now approved for all Aussies over the age of 12. The Australian Government has an agreement with Moderna for 25 million doses of the vaccine, which includes 10 million this year and 15 million in 2022. Elsewhere around the world, Moderna's jab has also received approval or authorisation to use in emergency situations in countries such as United Kingdom, Canada, the European Union, the United States, Switzerland and Singapore. Partly funded by a donation from the one and only Dolly Parton, Moderna's vaccine is actually the fourth to get the nod in Australia, following AstraZeneca, Pfizer and a jab from Johnson & Johnson — the latter of which hasn't been included in the country's vaccine rollout so far. Like the Pfizer vaccine, the Moderna jab is an mRNA-based vaccine. So, it uses a synthetic genetic code called RNA, which tells the cells in our bodies how to make the coronavirus' unique spike protein. Then, once our bodies have done just that, making the protein that's encoded by the mRNA vaccine, we're able to recognise the spike protein as being foreign to our system and launch an immune response against it. Two doses of the Moderna vaccine are required — and while the AstraZeneca jabs are recommended four–12 weeks apart, and the Pfizer jabs three weeks apart, Moderna's should be administered within 28 days of each other. Wondering what that the Moderna approval means in terms of boosting Australia's vaccine ability (because actually getting a jab hasn't been particularly straightforward under the country's slow-moving rollout)? Back when the Moderna vax got the tick, Prime Minister Scott Morrison advised the 25 million doses would join the 125 million doses of Pfizer and 53 million doses of AstraZeneca that are already part of the vaccine campaign. "The first one million doses is on track to arrive next month and will go to pharmacies. Then we will have three million in October, three million in November and three million in December," the PM said. And if you'd like to keep an eye on the country's vaccination rates now that a third vax is in the mix — with those rates tied to easing restrictions nationally, and on a state by state level (as seen in the New South Wales and Victorian roadmaps out of lockdown) — we've rounded up where you can do just that. For more information about the Moderna COVID-19 vaccine, head to the TGA website. To find out where you can get vaccinated, check out the Australian Government Department of Health's Vaccine Clinic Finder website.
This October, the Southern Highlands will host a multi-sensory food, wine, music and art festival, set across the picturesque Centennial Vineyards. This is Horizontal Festival — a celebration of all that New South Wales has to offer. From Saturday, October 4 to Sunday, October 5, Horizontal Festival will take you on a journey where every space offers a new atmosphere, flavour and soundscape. Guests can wander through the Sparkling Bar, an elegant space of oysters, truffles and classical music. Then, at The Vineyard, you can experience a homegrown taste of the Italian countryside with lobster skewers, antipasto and upbeat music. For an expert-led beverage masterclass, head to The Rosé Room with blending workshops, sessions on cellaring and spirits, and of course, rosé. The Orchard offers cider tastings and vegan treats, while the cheese den spotlights the state's finest cheeses in sweet and savoury pairings. The Hops Garden & Concert Stage pairs craft beer with DJs, and the Barrel Room creates a provincial atmosphere with red wine and jazz. Finally, the Sweet Pairings space serves indulgent desserts matched with sweet wines. Horizontal Festival is a feast for the senses in ever sense, with Festival Creator and Founder Amanda Fry describing it as "a festival that puts the customer experience first". Alongside wine tastings and artisanal food, expect live music in every zone, captivating art installations and the chance to meet makers from across NSW. Tickets are $59 each, with the option of choosing between a vibrant daytime experience or an enchanting evening atmosphere. Day sessions run from 12-4pm, while evening sessions take place from 5.30-9pm. For more information and to purchase tickets, head to the Horizonal Festival website.
Three Blue Ducks' chef Darren Roberston has come together with Japanese Roku Gin to create an exclusive dining event to showcase the spirit of shun: A Taste of Bellingen. Having opened in July 2023, The Lodge in Bellingen has been celebrated for its new menu, which features bold flavours and fresh, seasonal produce. It's bringing its Asian-inspired menu to Three Blue Ducks' Rosebery location for two seatings: dinner on Friday, November 10, and lunch on Saturday, November 11, hosted by celebrated Three Blue Ducks chef Darren Roberston. Robertson crafted the luxe Asian-inspired menu with Japanese flavours inspired by the botanicals used in Roku Gin. He will host the exclusive dining event and guide diners through the four courses to symbolise the four seasons — each served with a special Roku gin cocktail. Some of the dishes on the menu include oysters with ginger and cherry blossom, salt and pepper squid, grilled asparagus with spanner crab mayo and gyokuro togarashi, barramundi with fragrant dashi, sencha furikake and sea greens and for dessert, diners will get to enjoy a yuzu tart with soft meringue and creme fraiche. The time-honoured Japanese tradition of shun (pronounced "shoon") encourages us to enjoy produce at its most ripe. The Japanese spirit Roku Gin exemplifies shun, crafted using a selection of six Japanese botanicals (roku actually means six in Japanese). Each botanical is carefully harvested at the peak of its season, ensuring the gin captures the essence of shun in every sip and savour. The six botanicals are sakura flower, sakura leaf, sencha tea, gyokuro tea, sanshō pepper and yuzu. Roku is the premium Japanese craft gin from the House of Suntory. A Taste of Bellingen menu is available from Friday, November 10 (dinner only) until Saturday, November 11 (lunch only). Tickets are extremely limited. They cost $120 (plus booking fee) per person and are now available to book on the Three Blue Ducks website. Images: Rob Palmer (images of Darren Robertson), Jude Cohen
After much hype and anticipation, The Lansdowne is back and its safe to say they're sticking to their roots — with a mantra of "seedy nights, live music and cheap food" proudly explicated by the legendary men behind the resurrection, Jake Smyth and Kenny Graham (Mary's Newtown and The Unicorn Hotel). The two twice said no to taking on the refurb before giving in to the gritty magic of the space. "When we finally came down for a walk through, we just fell in love," says Graham. "We've given it the face lift it deserves." The 'seedy nights'-esque grungy feel of the space is definitely still in tact, with the old concrete floors and paint-peeling walls still peeping through. But the downstairs area is now home to a shiny new pool table and dart board, while the pokies room has been swapped for rock 'n' roll pinball machines, complete with a rotating disco ball. Those sticky green lounges have been replaced by high and low tables, plus a light-up dance floor and DJ booth. It's a massive space — a labyrinth of rooms that all lead out to a two-floor smoking courtyard with plush teal lounges and multi-colour floor lighting. Local artist Jessica Cochrane has given the space her own touch, complete with two Playboy wall collages, a candlelit shrine to the live music greats and pin-up girl covered bathrooms ceilings, a.k.a "pisstine chapels". Live music is the hero here, and the entire top floor is dedicated to getting some of the best bands in the business. "This can't be anything but a live music venue — how could we even try to convince ourselves that there's anything better for this place to be?" says Graham. "We absolutely want to fostering young, cracking bands." They've teamed up with renowned booker Matt Rule (The Music and Booze Co.) to this end, and worked with the producers of the new Sydney International Convention Centre to ensure top-notch acoustics — and we can confirm the sound is seriously impressive. They're breaking in the room with a weekend's worth of secret gigs, which started with super-group Delta Riggs, The Preatures and Sticky Fingers taking to the stage. The food is certainly simple, but not your usual Aussie pub food; there's not a schnitty in site. There's a full Detroit-style pizza menu, including Mary's burger pizza ($19), along with a non-Mary's (but still basically Mary's) barbecue cheeseburger ($17), fish finger sambo ($16) and cauliflower mac 'n' cheese ($16). The late-night menu will change cuisines periodically, and is currently Korean — including kimchi pancakes ($10), and spam and cheese dogs ($12). They've also got a cocktail menu and locals Grifter and Young Henrys on tap, along with the requisite VB and Resch's — this is the Lansdowne, after all. "Live music venues don't need it to be shit holes with dirt everywhere and cracked leather,"says Graham. "We ratbags deserve a cool, luxurious spot to listen to awesome rock 'n' roll." The Lansdowne is now open at 2-6 City Road, Chippendale. Images: Bodhi Liggett.
It's a hundred years since the Mexican Revolution. Moustaches, cries of "land and freedom!" and 'sombrero' as a synonym for 'big hat' all flow from that revolutionary era. The Mexico it created is complex, layered and huge. Just like Mexico's movies, which — thanks to this year's Hola Mexico Film Festival — are again being brought to Sydney. Star of the festival this year is director Carlos Carrera, whose horrific and powerful Backyard highlights the almost daily murders of women in the border city Juarez. He is touring his new film On Childhood, but will also be doing a Q&A after his blockbuster Catholic expose The Crime of Father Amaro, starring Y Tu Mama Tambien's Gael Garcia Bernal. Bernal also features as one of the ten directors of the centennial Revolucion, while documentary A Day Less is a startlingly frank, sad and funny portrait of an aging couple in Acapulco and their bleak year between annual family visits. Presumed Guilty follows corruption in the Mexican justice system — a film that unwittingly helped to remedy the injustices it covered. And if you want a fiesta to boot, the opening night will accompany Diego Luna's Abel with flamenco from Los Tres Monos and yummy botanas by Guzman y Gomez. Hola Mexico will run until November 14 at the Dendy Opera Quays and Dendy Newtown. Image from Revolucion
Float on, festival fans: come April, Australia's newest excuse to see a heap of bands in one spot will make its way along the country's east coast. That touring event: the just-announced Daydream. It's hitting Sydney, Melbourne and Brisbane with quite the roster of indie-rock talent — headlined by Modest Mouse three decades after the Washington-born group first got together. Don't listen to the title of the band's acclaimed 2004 album, though — this is good news for people who love good news, not bad. Joining Modest Mouse on the bill are Britain's Slowdive, who initially formed in 1989, the reformed in 2017, as well as Australian favourites Tropical F*ck Storm. Daydream will hit up Melbourne's Sidney Myer Music Bowl on Saturday, April 22 to kick things off, then head north. The fest plays the Hordern Pavilion in Sydney on Saturday, April 29, followed up Brisbane's Riverstage on Sunday, April 30. The lineup varies slightly per city, with Beach Fossils and Cloud Nothings taking to the stage at all stops, but Majak Door missing Brisbane. And no, it isn't too early into 2023 to start packing your calendar with music festivals. New year, new diary to fill, after all — and Daydream, the also just-announced Lazy Mountain and more are firmly here to help. DAYDREAM 2023 LINEUP: Modest Mouse Slowdive Tropical F*ck Storm Beach Fossils Cloud Nothings Majak Door DAYDREAM 2023 DATES: Saturday, April 22 — Sidney Myer Music Bowl, Melbourne Saturday, April 29 — Hordern Pavilion, Sydney Sunday, April 30 — Riverstage, Brisbane [caption id="attachment_886745" align="alignnone" width="1920"] Dylan Jardine[/caption] Daydream will hit Australia's east coast capitals in April. Early-bird pre-sales start at 9am local time on Thursday, February 2, with general sales from 9am local time on Friday, February 3 — head to the tour website to sign up for the pre-sale, or for more information. Top images: Modest Mouse by Matthewvetter via Wikimedia Commons; Tropical F*ck Storm by Somefx.
The miners' strike remains one of the most infamous aspects of Margaret Thatcher's British leadership, and one frequently committed to film. Billy Elliott showed the immediate consequences for families, as well as its influence over ideals of masculinity. Brassed Off charted the lingering aftermath as pits closed again a decade later. Now Pride offers a glimpse at unlikely efforts to support those affected by the industrial action. At the 1984 gay pride march in London, Mark Ashton (Ben Schnetzer) is swept up in the spirit of mobilisation, pledging to assist the miners' cause as well. His rationale, of aiding others marginalised, is simple. The apprehension of some of his friends, uncertain about helping a cohort not known for their tolerance, is understandable. With bookstore owner Gethin (Andrew Scott), actor Jonathan (Dominic West), naive college kid Joe (George MacKay), and the world-weary Steph (Faye Marsay), Lesbians and Gays Support the Miners (LGSM) is born. Good intentions can only get them so far, with the group's calls met with rejection and silence. Only the Welsh village of Onllwyn accepts their offer via its union rep, Dai (Paddy Considine); shy secretary, Cliff (Bill Nighy); and women's auxiliary leader, Hefina (Imelda Staunton). But much of the rest of the townsfolk need convincing of the merits of their alliance. In chronicling LGSM's quest, Pride is the kind of heartwarming underdog tale that rouses crowds, as retellings of powerful true stories often do. There's no escaping the schmaltz designed to elicit such a reaction, nor the swelling score or checklist of expected characters; however, the feature's unbridled enthusiasm for its circumstances and cause is similarly, joyously unavoidable. For a film broad in scope and blunt in approach, nothing ever feels cursory, whether touching upon the AIDS epidemic, homophobic attacks, culture clashes, issues of coming out at different life stages, subplots involving female empowerment and small-town discrimination, political paradigms or the overall narrative of acceptance. Director Matthew Warchus and writer Stephen Beresford's earnestness is as authentic as their aim in offering a well-rounded account, fictionalised but devoid of judgment and brimming with understanding. Compiling an excellent cast, each turning in considered and classy performances, further ensures warmth and wit shines through. Schnetzer's go-getting is infectiously charismatic; West is a delight gifted a stellar dance scene; and Nighy, Considine and Staunton radiate compassion, their endeavours combining in an effort as upbeat as it is empathetic. Indeed, even if history tells otherwise, things are always looking up in Pride, thematically in a story steeped in solidarity, and visually in bright, energetic camerawork that peers appreciatively at its many protagonists. With heart and hope, the film becomes a feel-good triumph of statement and sentiment, equally entertaining, affecting and important. https://youtube.com/watch?v=zdbT1N6lGNA
There's no shortage of ways to send your love to your nearest and dearest, though sometimes an emoji, a surprise bunch of flowers or even a hardy succulent just doesn't cut it. Similarly, showering those close to you in sweet treats is far from difficult — but Australia's new chocolate company wants to provide another option. Combining taste, style and heartfelt messages, Good Measure Co is offering up the country's newest personalised artisan chocolate delivery service, not only ferrying their cocoa-based delicacies around the nation in attractive packaging, but letting you write your own tender missive to go along with them. You pick what goes inside and on the outside, choosing from gourmet dark and milk chocs in blueberry, milk and honey, dark raspberry, chocolate noir and signature salted caramel flavours — or Champagne truffles — plus four styles of box and whatever nice words you can dream up. Those eager to tailor their choccie selection for their special someone can expect to pay $50 for a box of 12, and $75 for 24. Boxes with a range of pre-written statements are also available for the same price, ranging from "chocolate for my favourite" to "it's time to celebrate". And, the cost includes free delivery, arriving the same day in Sydney for orders placed before 11am, and the next day if ordered afterwards. The company was created by Pete and Hannah Craggs, who "wanted to reimagine the humble chocolate box, and create a new way to share the joy of chocolate with friends and family in a simple and easy way," Pete explains. Continues Hannah, "we've tapped into the same sense of occasion and excitement you'd get from giving and receiving flowers, but with high quality, gourmet chocolate instead." For more information, visit Good Measure Co's website.
Kings Cross has had a tough year. The tragic death of Thomas Kelly following a vicious assault had people wondering: is there anything good about the Cross? Sydneysiders (and indeed Australians) know the area as being home to the infamous drag of mafia-owned strip clubs, seedy bars and nightclubs. However, the Drink 'n' Dine Group, known for glamming up rundown pubs, are opening Santa Barbara, a venue they hope will restore some credibility to Kings Cross. And the boys have placed their new diner in an ideal location to engage a revitilisation of the areas nasty stigmas. You'll find yourself directly beneath the infamous Coke sign when taking a visit to Santa Barbara. Fresh from opening a Jamaican-inspired eatery, Queenies, Santa Barbara will be Drink 'n' Dine's sixth opening in recent years. Co-owner Jaime Wirth caught up with Concrete Playground before the venues official launch that Santa Barbara would be a bar serving tropical classics and dishing up "US-Asian BBQ", which will include American food infused with Chinese takeaway, Tex-Mex and Hawaiian roadhouse concepts. "I went on a research trip for 10 days in Los Angeles and New York with our designer Michael Delany-Korabelnikova, where we were hanging out 24/7 checking out heaps of good bars and non-stop eating," said Wirth. "The name of the bar changed about five times but we came back to the first idea we had: Santa Barbara." Wirth said the concept of Santa Barbara was nothing that's being done in Sydney. There's bings ($5.50) which are similar to Chinese pancakes, Char Sui ribs with salsa verde, cucumber and jalapeno finger salad ($18), one hand burgers ($10-$12) and the impressive dragon dog which has smoked and deep-fried octopus, complete with tentacles. Wirth said every dish on the menu, crafted by Drink 'n' Dine executive chef Jamie Thomas, could be eaten without cutlery. "It's definitely got the 'bar with great food vibe' which I love. It means people can come to have a drink and have dishes that you can eat with one hand," he said. And the drinks? Wirth described the menu as taking on classics with a holiday resort theme, with touches of Mexican and Asian flavours. Cocktails start at $15, including the Santa Colada with rum, coconut puree, pineapple and Amaretto, as well as the Largerita with tequila, beer, agave and a paprika salt rim. As you walk up the stairs a huge mechanical bear greets visitors with 'Santa Barbara' emblazoned in neon lighting. At the bar, there are quirky knick-knacks which Wirth says have been collected on eBay and also on a spending spree in China. There are also lit up pictures of various dishes behind the bar, similar to a Chinese takeaway. Santa Barbara is Drink 'n' Dine's biggest and boldest project to date, Wirth said. "Kings Cross is a bit of a hot topic at the moment. It's new territory for us as we're opening more of a bar that serves really good food," said Wirth. "When we opened The Norfolk, people told us that nobody wanted to go there and now it's pumping. We're hoping something like that can happen for us in Santa Barbara. We're trying to make it so people can go there on a Tuesday night, instead of just at 3am on a Saturday when they're trashed," he said. Good luck to you boys, we're rooting for you. And here's to your mini-revolution of the Cross' dining and drinking scene. Santa Barbara opens on 30 November. Mon - Thu 12pm - 2am, Fri 12pm – 3am, Sat – Sun 4pm – 3am; Lot 1 82-94 Darlinghurst Road, Potts Point 2011.
Few films feel as tailor-made for their audience as Josh Boone's adaptation of The Fault in Our Stars. Based on the enormously popular young adult novel by John Green, about two teen cancer patients who fall hopelessly in love, it's a story designed to play the heartstrings like a fiddle, extracting sighs and sobs from willing viewers with surgical precision. It's melodramatic, sure, but you'd be hard-pressed to deny its effectiveness. And thanks to a fantastic lead performance from Shailene Woodley, the sentiment never feels insincere. Woodley plays Hazel Lancaster, a sarcastic 16-year-old with terminal tumours in her lungs. Hazel has more or less come to terms with the nature of her illness, but at the behest of her worried parents (Laura Dern and Sam Trammell) agrees to attend a patient's support group. It's there that she meets Augustus Waters (Ansel Elgort), an impossibly charming cancer survivor himself, who soon sets about sweeping her off her feet. Despite Hazel's assertion that hers is not your typical cancer narrative, The Fault in Our Stars very much follows a formula. Viewers are promised tragedy, and then lulled into hoping that that tragedy might be averted. Peaks of joy are followed by valleys of strategically excavated sorrow, timed to cause maximum devastation. Thankfully, Hazel is an endearing enough character that you don't really mind the film manipulating you. Pithy voiceover helps us get to know her as a funny, strong-willed young woman who makes the best of an awful situation. Woodley's performance is impeccable, capturing both the giddy excitement of young love and the sobering adult reality of death. Her co-star falters with some of the heavier material but is still immensely likeable as Augustus. Admittedly, the young man isn't the most plausible of characters — no teenager is this articulate, no matter how much they'd like to believe otherwise. A lot of his dialogue is meant to sound wonderfully deep and inspiring but is just as likely to cause cringes in anyone over the age of about 17. Nuggets of teen philosophy notwithstanding, the interactions between the characters generally feel authentic, with plenty of humorous banter to put the romance — and the heartache — into relief. It's thanks to Boone and company's balancing of the three that The Fault in Our Stars is a success. https://youtube.com/watch?v=9ItBvH5J6ss
Sometimes getting through the day without spilling coffee all over yourself or throwing a major tantrum at work is a real challenge. Let's face it, adulting is tough — what with the bills, the responsibility, the expectations. No wonder you sometimes want to get off the grown-up roundabout. When it all gets too much and the kid in you wants to bust out and forget about your worries for a while, we've got you covered. With the help of our pals at American Express, we've put together a list of the best places to head to shake off the shackles and do as young you would do — except this time with your grown-up American Express® Card paying your way. Whether it's slamming down bowling pins and beers, hitting up old-school arcade games or belting out karaoke, you're guaranteed to forget about the 'real' world for a while. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
