If a horror movie sports a killer premise, more films are always likely to follow. So, when A Quiet Place gifted cinemas just that back in 2018, giving it a sequel and then a spinoff didn't come as a surprise. Neither does the latest news about this hit saga: after 2020's A Quiet Place Part II and 2024 prequel A Quiet Place: Day One, A Quiet Place Part III has officially been locked in. You'll be watching the next flick about trying to survive post-apocalyptic times by being as silent as possible — because the extra-terrestrials that've invaded the earth get brutal when they hear a noise — in 2027. And, you'll be viewing a film with John Krasinski (IF) behind the lens again. The actor-turned-director helmed both the OG A Quiet Place and Part II, and is returning for Part III after Michael Sarnoski (Pig) did the honours on Day One. So far, all that's known about A Quiet Place Part III is a release date — Thursday, July 8, 2027 Down Under — and that Krasinski is directing, writing and producing, as per Variety and The Hollywood Reporter. So, just what the narrative will chart and which characters will be the focus haven't yet been revealed. Also unknown so far: if there'll be any familiar faces, including whether Emily Blunt (The Fall Guy), Millicent Simmonds (Wonderstruck) and Noah Jupe (Lady in the Lake) will be back. So far, after life as we know it ended thanks to aliens that leap upon any and every sound, audiences have already seen what happened on day 89, days 471–7 and, in a couple of different ways, on the day that started it all. Add when A Quiet Place Part III is set to the list of details that haven't yet been advised, however. When the first A Quiet Place made its way to the big screen, it did excellent things with its mostly dialogue-free premise and gave films about otherworldly attackers a creative spin, quickly proving a box-office sensation as a result. Again, more movies building upon that success was to be expected. So are more sequels now, given that we're living in busy horror franchise times — as 28 Years Later, Final Destination Bloodlines, I Know What You Did Last Summer and M3GAN 2.0 can help attest in 2025 so far, and as Black Phone 2, Five Nights at Freddy's 2, The Conjuring: Last Rites and The Strangers: Chapter 2 are also set to demonstrate this year. There's obviously no trailer for Quiet Place Part III yet, but check out the trailers for A Quiet Place, A Quiet Place Part II and A Quiet Place: Day One below: A Quiet Place Part III is set to release on Thursday, July 8, 2027 Down Under. Read our reviews of A Quiet Place, A Quiet Place Part II and A Quiet Place: Day One. Via Variety / The Hollywood Reporter.
If you're looking to escape the hustle and bustle of city life but want to switch it up from your usual beachside getaway, head to one of Australia's most stunning patches of river country and reconnect with nature — the Murray Region. Boasting picturesque landscapes, serene waterways and abundant wildlife, it's an ideal destination for some rejuvenation. Journey through some of the most beautiful spots in the state — exploring stunning gardens and reserves, cruising along the river, or simply relaxing in some seriously serene surroundings. Together with Destination NSW, we've compiled this guide to ensure you get the absolute most out of your stay. It's time to hit the road and explore our beautiful river country. CIRCA 1928 DAY SPA AND HOTEL Looking for some small-town charm to kickstart your weekend rejuvenation? Albury is the ideal regional hub for you — managing to perfectly balance the old school and trendy. The best example of this is the CIRCA 1928 Art Hotel, sitting pretty in the centre of town. What's more, you and a date (or mate) can enjoy a night here while saving some pennies. At this spot, you'll be greeted with luxe eclectic interiors, considered design features and a night-cap delivered straight to your door — plus in-suite brekkie and 20% off at the renowned onsite spa. Combining Indonesian techniques with Australian-made botanical products, the treatments here will have you blissed out in moments. [caption id="attachment_893890" align="alignnone" width="1920"] Destination NSW[/caption] MURRAY RIVER CANOE TRAILS If you're looking for a bit more adventure, why not cruise down the flowing Murray River on a scenic canoe trail? There are four trails to pick from in the neighbouring Murray Valley National Park and Barmah National Park. All have easy water access and offer something special for every paddler. Go for a quick 30-minute trip from Barmah Lakes to Rices Bridge; or, opt for a lengthier 3.5-hour canoe from Picnic Point to Barmah Lakes, stopping for a picnic on the way at the scenic Swifts Creek campground. [caption id="attachment_893966" align="alignnone" width="1920"] Wendy McDonald[/caption] MURRAY DARLING SCENIC FLIGHT Get a new perspective and fly high above the Southern Murray Darling Basin for a truly unforgettable experience. Soar above Yanga National Park and the vibrant Gayini wetlands or gaze in awe over the swirling hues of the desert meeting the water with Murray Darling Scenic Flights. Embrace the stunning vistas of the River Country, including red gum forests and ancient desert lakes. You'll also catch a glimpse of the glowing colours of nearby Lake Tyrrell. Flights depart from Swan Hill, Echuca, Deniliquin and Kerang airports. [caption id="attachment_894063" align="alignnone" width="1920"] Destination NSW[/caption] STAY ON THE EMMYLOU PADDLESTEAMER Three nights atop the river on a delightful slice of local history — that's what you'll get if you book this all-inclusive trip for two. Immersed in the riverscape, you'll be relaxing as you float on the Emmylou. Check in to your air-conditioned queen suite when you board your vessel and get ready to cruise down the Murray in the charming paddlesteamer. Sip wine and beers and savour regionally inspired meals prepared by your onboard chef. Enjoy all this, plus barbecues under the stars, stop-offs at riverside wineries and late-night campfires while you listen to the local Aussie wildlife. [caption id="attachment_894605" align="alignnone" width="1920"] Visit Albury Wodonga[/caption] ALBURY BOTANIC GARDENS If you want a healthy dose of serenity and history, be sure to visit the Albury Botanic Gardens during your Murray explorations. Established in 1877, the gardens have been a highlight of the charming regional town for well over a century. Here, you're free to take a self-guided stroll along the Heritage Walk, picking up some of the local history. Or, simply get lost in the grounds, immersing yourself in more than 1000 plant species — and even an extremely rare rainforest collection. [caption id="attachment_894067" align="alignnone" width="1920"] Destination NSW[/caption] MUNGO WALK THE WALLS OF CHINA TOUR Embrace the natural landscape and rich cultural heritage of Mungo National Park with an expert First Nations guide. Explore the ancient lakebeds and the spot where some of modern humanity's oldest remains were found, before embarking on the Walls of China Tour, which will take you on a journey back in time through the ancient sites that hold over 40,000 years of Aboriginal history. There is much to learn from this immensely significant area's Traditional Owners. Over two hours, you'll hear of the secrets of the expansive Willandra Lakes region, with plenty of time to photograph the Mars-like landscape — which formed naturally with the movement of wind and water. You can only visit the awe-inspiring Walls of China via a guided tour. [caption id="attachment_893892" align="alignnone" width="1920"] Destination NSW[/caption] STAY ON THE RIVER OF ISLANDS HOUSEBOAT If you prefer to rejuvenate with absolute alone time, opt for a stay on the River of Islands, a drive-yourself houseboat that'll have you exploring the gorgeous Murray River at your own pace. The boat sleeps seven people across three bedrooms, with a shady deck for lazing around and a rooftop (boat-top?) hammock for enjoying the afternoon sun. Located between Mulwala and Corowa, the simply stunning River of Islands docks at the perfect spot to explore the river's wildlife and sweeping gums. Relax and recharge by soaking in your vista on a sunset swim, kayaking around your floating home, or by dropping a line. Or simply sit back and enjoy the view. [caption id="attachment_894060" align="alignnone" width="1920"] Destination NSW[/caption] WAGIRRA TRAIL AND YINDYAMARRA SCULPTURE WALK Along the Murray River pathway, in West Albury, you'll find a unique cultural experience. The Yindyamarra Sculpture Walk is a peaceful and scenic route through soaring red gums and First Nations art pieces. The walk is along the Wagirra Trail, a 15-kilometre return journey with plenty of picturesque spots to take a picnic break and really soak up the scenery. Between Kremur Street and the Wonga Wetlands, the trail tells a series of First Nations stories with 15 sculptures made by contemporary Aboriginal artists. There's plenty of info along the way, so you'll be learning about the artistic processes and fascinating local Indigenous history while you wander. [caption id="attachment_894607" align="alignnone" width="1920"] Murray River Council[/caption] MOAMA BOTANIC GARDENS Located in the charming riverside sister towns of Moama and Echuca, you will find the beautiful Moama Botanic Gardens. A peaceful stroll through these gardens is the ideal spot for a rejuvenating hit of nature. While you're soaking up our natural world, wander through Indigenous plantings, learning of our beautifully unique arid and semi-arid Australian landscapes. After your explorations, sit back and relax in a shady spot — and don't forget a loaded picnic basket. Check out where to stock up on local supplies using our food guide to the region. For more ways to enjoy the Murray region, check out our food and drink guide or history and culture guide. To start planning your rejuvenating trip to the Murray region with the exclusive packages curated by CP's editors, head to the website. Top images: Destination NSW (first, Lake Mulwala; third, Emmylou Paddlesteamer; fourth, Wagirra Trail and Yindyamarra Sculpture Walk); Visit Albury Wodonga (second and fifth, Albury Botanic Gardens).
What's better: free KFC, or bites to eat other than chicken being double-breaded and fried just like the Colonel's finest? The answer: a place that does both. Australia is getting one, albeit temporarily and only in Sydney. But hit up The Original Crispery, as the two-day-only world-first pop-up is called, and you'll nab a burger without spending a cent — and also get the chance to enjoy an entire menu that's been given the KFC treatment. Have you always thought that vegetables such as broccolini and asparagus would taste better if they were coated and fried just like KFC chicken? Cheesecake, too? Peanut butter and jam sandwiches? They're some of the items on the menu at The Original Crispery — and, like the burgs, they're also free. The place: 118 Crown Street, Darlinghurst. The dates and times: 10am–7pm on Friday, May 17 and 10am–5pm on Saturday, May 18. Everyone who drops by will get one free original crispy burger and one other free item from the menu, as suitably "crispified" as the fast-food chain is calling it. Why? Whenever a pop-up like this happens, it's always to promote something. This time, the brand is spreading the word about its permanent new original crispy burger series being added to the menu at KFCs Australia-wide, where every burger fillet is double-breaded. It hits outlets on Tuesday, May 14. As for what else is on offer at The Original Crispery, you'll have to show up to find out. Until then, dreaming up a list of other foodstuffs that KFC can crisp up will pass the time and make you hungry. And yes, this is the latest pop-up from a brand that's done 11-course fine-dining degustations, Peking Duk-led festivals, a nightclub, weddings, cocktails, ugly Christmas sweaters for humans and pets alike, free international trips, and a soothing playlist of chicken frying and gravy simmering — which is genuinely relaxing. KFC's Original Crispery will pop up from 10am–7pm on Friday, May 17 and 10am–5pm on Saturday, May 18 at 118 Crown Street, Darlinghurst, Sydney. Head to the brand's website and Facebook page for more details.
Dishing up desserts across Sydney, Melbourne, Queensland the Australian Capital Territory, Gelato Messina obviously specialises in frosty sweet treats. But, because the chain has amassed quite the following, it also has a range of merchandise. Earlier this year, for instance, you could nab one of its gelato-scented candles (and presumably give yourself a constant craving for a few scoops). Now, you can also grab yourself an item of clothing decked out with a picture of its towering ice cream cones. Messina's new 2020 merch line is now available to purchase, spanning black and grey hoodies, grey and navy sweatshirts, and t-shirts in white, navy, rust (aka a red-orange colour) and black. Each has an image of gelato on the front or back — with those pics varying between different styles of clothing and different colours. After releasing a selection of flavours inspired by fashion brands back in October, all to celebrate Incu's 18th birthday, Messina has teamed back up with the retailer on its new threads. It's also showcasing the work of artist Ella Grace, who specialises in detailed watercolour paintings and illustrations — as you'll see from the images of gelato on Messina's merch. Yep, expect it to make you mighty hungry. For those keen on wearing gelato-adorned items while eating gelato, you'll pay $45 for a t-shirt, $65 for a sweatshirt and $75 for a hoodie. All garments are unisex, and made from 100-percent cotton — and they ship Australia-wide. For tiny dessert fiends, Messina's online store also has onesies for babies — because you're never too young to love ice cream. And, you can grab Messina caps with its logo and socks with its wallpaper print as well. For more information about Gelato Messina's merchandise — and to make a purchase — head to its website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. ALI & AVA All plot, all the time: that's how some filmmakers craft movies. Every scene leads to the next, then to the next and so on, connecting the story dots so that event A plus event B (plus event C, event D, event E and more) neatly equals wherever the narrative eventually ends up. Clio Barnard is not one of those writers or directors. Every scene always leads to the next in every film that tells any tale, no matter who's spinning it, but much of what happens in the Dark River and The Selfish Giant helmer's movies doesn't change, shift or drive the plot at all. Indeed, her features often have storylines that seem straightforward, as the tender and tremendous Ali & Ava does. But that uncomplicated appearance — including here, where a man and a woman meet, sparks fly, but complications arise — couldn't be more deceptive. In Ali & Ava, that man and woman are indeed Ali (Adeel Akhtar, Killing Eve) and Ava (Claire Rushbrook, Ammonite), both residents of Bradford in Barnard's native West Yorkshire. He's a working-class landlord — a kind and affable one, noticeably — from a British Pakistani family, and was once an EDM DJ. She's an Irish-born teacher's assistant at the school where one of Ali's tenants' children attends. Frequently, he's on drop-off and pick-up duty, because he is that helpful to his renters. So, when the skies open one day during his school run, Ali offers Ava a ride home rather than seeing her walk to the bus in the pouring rain. They chat, click, laugh, bond over a shared passion for music and slowly let their guards down. But what would a romance be, especially an on-screen one, if the path to love truly was effortlessly smooth? With a lyrical social-realist bent that'd do Ken Loach, living patron saint of British lyrical social-realist filmmaking, proud — see: Loach's I, Daniel Blake and Sorry We Missed You for his two most recent examples — Barnard unpacks everything that roughs up Ali and Ava's tentative courtship. But there's another English director who springs to mind, too, thanks to the way that Ali & Ava can turn from poignant to portentous in a second: This Is England and The Virtues' Shane Meadows. His work finds bliss and joy in ordinary, everyday moments, and also violence and menace as well. One can become the other so quickly that, if it didn't all feel so genuine and authentic, a case of whiplash might be the end result. All three filmmakers possess a commitment to detailing lives that aren't typically fodder for celluloid dreams; all three, including Barnard with The Selfish Giant and now Ali & Ava, make features in the vein that are potent, perceptive, dripping with empathy and as emotionally raw as films come. Ali, friend to everyone, is troubled by more than just regret about no longer hitting the decks. He has a wife, Runa (Ellora Torchia, Midsommar), who no longer loves him or wants to be with him. But he's too proud to tell his family, so they still live together while she keeps studying. That brings judgement his way, with his sister Usma (Krupa Pattani, Ron's Gone Wrong) vocal in her disapproval about his growing closeness with Ava. It makes Ava apprehensive as well, unsurprisingly. She already has enough of her own worries as it is, caring for her five kids — some of which have had kids of their own — as a single mother. One, her son Callum (Shaun Thomas, Miss Peregrine's Home for Peculiar Children), remains affected by his father's death a year earlier, and also his parents' breakup before that. He's far from welcoming to Ali as a result, terrifyingly so, hating even the idea of him as his mother's potential friend. Read our full review. AFTER BLUE (DIRTY PARADISE) In his 2017 feature debut, French writer/director Bertrand Mandico took to the sea, following five teens who were punished for a crime by being sent to a mysterious island. Sensual and lurid at every turn, The Wild Boys was never as straightforward as any description might intimate, however — and it proved both a tempest of influences as varied as Jean Cocteau, John Carpenter and David Lynch, and an onslaught of surreal and subversive experimentation several times over. Much of the same traits shine through in the filmmaker's second feature After Blue (Dirty Paradise), including an erotic tone that's even more pivotal than the movie's narrative. Mandico makes features about bodies and flesh, about landscapes filled with the odd and alluring, and where feeling like you've tumbled into a dream most wonderful and strange is the instant response. Tinted pink, teeming with glitter, scored by synth, as psychedelic as bathing in acid and gleefully queer, the fantastical realm that fills After Blue's frames is the titular planet, where humanity have fled after ruining earth. As teenager Roxy (debutant Paula-Luna Breitenfelder), who is nicknamed Toxic by her peers, tells the camera, only ovary-bearers can survive here — with men dying out thanks to their hair growing internally. In this brave new world, nationalities cling together in sparse communities, with roving around frowned upon. But that's what Roxy and her hairdresser mother Zora (Elina Löwensohn, Mandico's frequent star) are forced to do when the former meets and saves a criminal called Kate Bush (Agata Buzek, High Life), who she finds buried in sand, and are then tasked by their fellow French denizens with tracking her down and dispensing with her to fix that mistake. If Dune met The Love Witch, the resulting film still wouldn't be as seductive, kaleidoscopic and phantasmagorical as After Blue — a picture that, as The Wild Boys also proved, has to be seen to be truly understood. Obviously, that's accurate of every movie; again, though, Mandico couldn't be more disinterested in making features that can be neatly summarised or unpacked. He isn't fond of holding back, either, and so After Blue dives straight into its maximalist adventure quest, ramping every sight, sound and performance up to levels that'd do This Is Spinal Tap proud. His latest release isn't a mockumentary, but an exercise in excess over and over that's turned up far past 11. Guns are named after designer brands like Gucci and Chanel; Kate Bush sports a third eye between her legs that sparks stirrings in Roxy; pleasure bots are the only masculine presence sighted, and even then they're forbidden; cigarettes wriggle like insects; and goo drips and oozes whenever it can, for instance. As well as pre-empting the current Stranger Things-inspired Kate Bush mania by almost a year (After Blue first premiered at the Locarno Film Festival in August 2021), Mandico doesn't make brief features. With a sizeable array of shorts to his name dating back to 1998's Le cavalier bleu, he seizes his opportunities when he's playing with long-form flicks. That gives After Blue more than two hours to luxuriate in its look, sound and vibe — a 70s-meets-80s sci-fi/western heaven — but also makes its narrative feel slight. Of course, the tale itself isn't the main attraction, but the style-over-story focus also doesn't scuttle into the background. But whenever the plot lags or zips by, aka Mandico's two pacing struggles, tentacles slide into view, nipples shoot metallic balls, a line of dialogue becomes a hilariously absurd gift, and either cinematographer Pascale Granel (Simple Passion) or composer Pierre Desprats (Olga), or both, deliver a piece of sound and/or vision that's trippy and sublime. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2, June 9, June 16 and June 23. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions and Nude Tuesday.
Just over an hour's drive south of Sydney, Wollongong thrums with an element of city bustle. But all that drains aways once you enter the grounds of the Wollongong Botanic Garden. The peaceful rainforest-like oasis has semi-arid succulents and delicate rose gardens that have been carefully cultivated for 50 years. Horticultural enthusiasts can spend hours exploring the flora — some local to the Illawara and with many more from as far as Japan, Africa and North America. It all sits at the foot of the escarpment under the watchful gaze of Mount Keira. You can head to the summit lookout for views across the city and Wollongong's glistening coastline, too. Image: Wollongong Botanic Garden
Maybe it's the twilight glow. Perhaps it's the stars twinkling above. Or, it could be the cooling breeze, the picnic blankets and beanbags as far as the eye can see, and just seeing a movie grace a giant screen with a leafy backdrop. When the weather is warm enough Australia-wide, a trip to the cinema just seems to shine brighter when it's outdoors. That's Sunset Cinema's whole angle, in fact, and it's returning for another season across the east coast. Over the summer of 2022–23 — and into autumn, too — this excuse to head to the flicks in the open air has seven stops on its itinerary: one in Canberra, three in New South Wales, two in Victoria and one in Queensland. In each, movie buffs can look forward to a lineup of new and classic titles, and a setup perfect for cosy date nights or an easy group hangs outdoors. NSW's run gets started on Friday, December 9 at St Ives Showgrounds, screening through till Saturday, January 28 with a lineup that includes box-office behemoths Top Gun: Maverick and Black Panther: Wakanda Forever, Disney's Strange World, Aussie drama Blueback and Olivia Wilde's Don't Worry Darling. Also on the bill: a heap of festive flicks leading into Christmas, such as Elf, Love Actually, Home Alone and The Nightmare Before Christmas; and three dog-focused films in January, spanning Marley & Me, Scooby-Doo and 101 Dalmatians. Sunset Cinema will also head to North Sydney Oval from Wednesday, January 11—Saturday, April 1, featuring the likes of 2022 hits The Menu and Everything Everywhere All At Once, Steven Spielberg's latest The Fabelmans, Whitney Houston biopic I Wanna Dance with Somebody, throwbacks such as There's Something About Mary and Crazy Stupid Love, and more. And, at the Wollongong Botanic Garden from Thursday, December 15–Saturday, March 11, the season covers many of the aforementioned titles — the Christmas lineup included — and also Mean Girls, Freaky Friday and The Parent Trap as part of a Lohan Fest. In Victoria, Mt Martha is first on the agenda, with Sunset Cinema hitting The Briars from Wednesday, December 21—Friday, January 20. Those festive films get a run here, too, as do classics Dirty Dancing and The Princess Bride — and many of the new titles showing at other venues. Melburnians don't miss out, however, thanks to a new St Kilda run from Friday, February 1—Saturday, March 4 at St Kilda Botanical Gardens. The lineup for that spot hasn't yet been revealed. And, in Brisbane, mark April in your diaries — with the exact dates, venue and program to be announced. At all stops around the country, BYO picnics are encouraged here, but the event is fully licensed, so alcohol can only be purchased onsite. Didn't pack enough snacks? There'll be hot food options, plus plenty of the requisite movie treats like chips, chocolates, lollies and popcorn. SUNSET CINEMA 2022–23 DATES: Canberra, ACT: Thursday, November 24—Saturday, February 25 at Australian National Botanic Gardens St Ives, NSW: Friday, December 9—Saturday, January 28 at St Ives Showgrounds Wollongong, NSW: Thursday, December 15–Saturday, March 11 at Wollongong Botanic Garden North Sydney, NSW: Wednesday, January 11—Saturday, April 1 at North Sydney Oval Mt Martha, VIC: Wednesday, December 21—Friday, January 20 at The Briars, Mt Martha St Kilda, VIC: Friday, February 1—Saturday, March 4 at St Kilda Botanical Gardens Brisbane, QLD — from April 2023, exact dates and venue TBC Sunset Cinema's 2022–23 season runs at various venues around the country from November 2022. Head to the Sunset Cinema website for further details.
The next time you watch two of Disney's best-loved animated hits, you won't be belting out "it's the circle of life" and "let it go" (or trying to resist the urge to sing along while sitting in a crowded cinema). When The Lion King Reo Maori and Frozen Reo Maori hit theatres in Australia and New Zealand in 2022, they'll still include everything that's made audiences adore both movies over the years — and both films will be dubbed in te reo Māori as well. The Mouse House has announced that it's creating and releasing new Māori-language versions of The Lion King and Frozen in conjunction with NZ company Matewa Media, after Moana Reo Māori proved a big hit. Producers Chelsea Winstanley (Jojo Rabbit) and Tweedie Waititi (Moana Reo Māori, Rūrangi) are behind the new releases, and have started work on giving the two Oscar-winning flicks a new voice. "It was always our dream to dub more Disney films that our tāmariki love into te reo Māori. We are extremely thrilled to continue this journey with The Walt Disney Company — it clearly demonstrates their commitment as a company to diversity and inclusion," said Winstanley. It might seem like a straightforward change, but the importance of giving audiences access to beloved tales in different languages — and, for New Zealanders, in the country's Indigenous language — really can't be underestimated. And, it's hardly common practice, but Moana and now The Lion King and Frozen are leading the charge. Viewers will be able to check out the results in June and September 2022, with The Lion King Reo Maori releasing first to commemorate Matariki (Māori New Year) and Frozen Reo Maori hitting cinemas around Te Wiki o te Reo Māori, Māori Language Week. Presumably, the films will also then head to Disney+ — which is where you can stream Moana Reo Māori right now. Trailers for The Lion King Reo Maori and Frozen Reo Maori don't yet exist, understandably, but you can check out a video for Moana Reo Māori below instead: The Lion King Reo Maori will hit cinemas in June 2022, and Frozen Reo Maori will follow in September 2022 — we'll update you with exact dates when they're announced.
It has been more than two decades since James Cameron, Leonardo DiCaprio and Kate Winslet recreated one of the deadliest ship disasters in modern history. You know the one. Titanic also launched a lifetime of folks standing at the bow of boats and exclaiming "I'm the king of the world!", and made the world endure a Celine Dion song that, as the lyrics promised, would go on. As well as snagging a huge bag of Oscars and big, big bucks at the box office, the film did something else: reignite public fascination with the 1912 sinking. If you've ever watched and wondered what it'd be like to see the real thing, then wonder no more — because you can become a 'citizen scientist' on a new series of underwater expeditions to the famed wreck. Commencing in 2021, underwater exploration company Ocean Gate Expeditions will be taking fascinated seafarers down to the famous ship on ten-day journeys. They'll dive almost four kilometres deep into the North Atlantic Ocean in a titanium and carbon fibre submersible — accompanied by experts, naturally — to peer through the vessel that went down on its maiden voyage, taking more than 1500 people with it. This isn't a tourist trip, however. Ocean Gate is planning six missions as part of an overall Titanic survey expedition, and anyone who'd like to go along will need to apply. If you're successful, you'll be trained a mission specialist — and you'll be asked to help document the current state of the sunken passenger liner, including via laser scans and 4K video that will be combined with high-resolution images to make a 3D virtual model of the ship. Primarily departing from the coast of Newfoundland in Canada from May–July 2021, with more missions planned in 2022 as well, these undersea trips don't come cheap — even though they're motivated by scientific and record-keeping aims. You'll need a cool US$125,000 per person to make the voyage, which includes one submersible dive to the ship. Of course, it's hardly surprising that plunging deep into both the ocean's depths to visit a famed wreck costs a massive stack of cash and then some. This isn't the first time tours have been offered — indeed, presumably using some of the loot his romantic drama pulled in, James Cameron has made the journey multiple times — but only a small number of people have seen site in person since it was first discovered in 1984. "More people summit Everest in a day than have ever seen the Titanic," says Ocean Gate Expeditions president Stockton Rush. https://www.youtube.com/watch?v=OH_9Q3Z_xok Top image: NOAA/Institute for Exploration/University of Rhode Island via Wikimedia Commons.
Just two weeks after announcing its 2024 lineup, long-running regional music festival Groovin the Moo has been forced to cancel all six of its dates. The beloved touring festival was set to hit Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and, for the first time, Newcastle throughout the end of April and beginning of May, but has now been forced to pull the plug on the national tour, citing poor ticket sales for the cancellation. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," reads the statement released by the festival. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "All tickets will be refunded automatically. Thank you to everybody who has supported the festival. We hope to be able to bring Groovin the Moo back to regional communities in the future." This year's edition was set to feature Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland. Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco were all also set to appear on the bill, alongside Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and more. 2024 was set also to be the first year when the festival moved from its longstanding NSW home in Maitland, with plans to move the festivities to Foreshore Park in Newcastle. It comes during a tough time for music festivals in Australia. Late last year, Sydney Festival was forced to pull the plug on the inaugural edition of its Summergrounds Music Festival, citing "changing consumer behaviors, cost of living pressures and mounting operational expenses". And, fellow regional favourite This That hasn't been able to go ahead with its annual events for the last two years. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) Groovin the Moo won't be happening in 2024. You can read the festival's statment via Instagram. Images: Jordan Munns
When John Safran was making his comedy/doco program John Safran vs God for SBS in 2004, his segment on Catholicism included a guest spot from South Melbourne Catholic Priest Father Bob Maguire. It was one of the show’s standout moments: the sardonic Father Bob playing off Safran’s nebbish persona like they’d just come off a 30-week Neil Simon run on Broadway. The relationship continued in television and radio, and Father Bob’s increasing media profile led to him to become every non-Catholic’s favourite Catholic: an outspoken priest who seemed unafraid of offending the Church with his opinions. Because of Bob's notoriety, it's not unreasonable to approach this documentary with trepidation. Would the film simply be repeating what we already knew about Bob? Would it be more suitable for a crowd who’d never heard of him? The film does play to an audience unfamiliar with Bob’s extraordinary personality, but even those who are fans of the man will find much to learn here. And it’s actually Safran who goes unexplained throughout the film. He appears sporadically — most satisfactorily as 'Death' in a beachside callback to Ingmar Bergman’s The Seventh Seal — without much comment. This is not necessarily a bad thing; enigmatic figures are an underrated tool for fostering audience intrigue. But it's Father Bob who is the star of the show. Filmed over the period during which the Catholic Church was trying to forcibly eject him (deeming him "too old" at age 75), In Bob We Trust documents the opinions and work of a man who seems to understand the fundamental message of Christ better than many of his counterparts. Not only that, but he puts it into practice. His well-fostered grumpy persona is the perfect conduit for what seems to be a genuine frustration at the Catholic Church's attitude towards women, gays, refugees, the poor, etc. He nearly explodes at the idea of having to explain to his superiors why he keeps spending money on the less fortunate. Lynn-Maree Milburn again proves herself a masterful director, following her superb documentary Autoluminescent: Rowland S Howard in 2011. She confidently steps back when the scene demands it but isn’t afraid to ramp up the production values (jump cuts, non-diegetic music and anything that dares to threaten the film’s verisimilitude with artifice) when needed. Father Bob continuously insists that he himself should not be the message, and the film’s central thesis largely bears this out: Bob is presenting to us the reason and the ideal of Catholicism, what it should be and what it could be. He does not particularly wish to be venerated, and the film respects that whilst slyly paying tribute to a man of extraordinary grace, intelligence, wit and compassion.
Have you ever found yourself in a charming, low-lit restaurant on a Saturday night only to have the ambience destroyed by violent flashes from the table next to you? Perhaps it's happened right in front of you — a date who just had to halt conversation to whip out his iPhone and 'gram both your meals before you could deign to touch it. It's just as bad on the other end too. There's no way his followers at home want to see some poorly framed gourmet blob as they sit down to their own mildly depressing mac and cheese for one. Well, now we have an excuse to send all these terrible snappers on a nice long trip away. In a world first, new London pop-up restaurant Picture House will be letting diners pay for their bill via photos of their food on Instagram. Like a sanctuary for the universally hated, notorious amateur food photographers can snap to their heart's content at this cursed hellhole and get a free two-course meal at the end of it. Unfortunately for patrons and their respective Instagram followers, Picture House is in fact a marketing stunt by frozen food giants, Bird's Eye. Accordingly, the food that will be flooding everyone's newsfeeds will consist of fancy fish fingers and a beige assortment of things that once resembled chickens. Dimly Lit Meals for One should expect a huge influx of submissions in the next week. All in all, the industry is pretty divided on the issue of novice foodie photographers. A restaurant in Cape Town has recently allowed patrons to use the newly-developed #dinnercam in their dining room — a futuristic casing for your meal (pictured above) that creates perfect lighting conditions allowing optimum food wankery. But other establishments like David Chang's Momofuku Ko are outright banning the practice. Still, according to an incredibly impartial survey taken by Bird's Eye, nine percent of Britons can't even go a single day without photographing their meals. Of course, I'm being a little rough. The odd food pic is okay. Of course it is. All I ask is that the food on display should be truly extraordinary. A croque-en-bouche three metres tall? 'Gram that baby. Pasta which the chef has painstakingly arranged into a portrait of your face? That's DP material. But a plate of frocked up chicken dippers with the obligatory hashtag #BirdsEyeInspirations? No thanks. Via London Evening Standard.
As its name suggests, this brand new satire presented by the Rock Surfers in conjunction with The Hayloft Project confronts one of Australia's most pressing issues head-on: The Boat People. You're asked to leave your preconceived notions onshore and plunge into the high seas for one night. With the assistance of three Sydney-based comic minds (Susie Youssef, William Erimya and Luke Joseph Ryan), writer-director Benedict Hardie explores Australia's relationship with its borders and the unpredictable lives of those seeking entry without "telling you what to think". The score and sound design comes courtesy of Benny Davis, the four-chords maestro from Axis of Awesome. "This is the funniest cast I could hope for," Hardie says, "and I still can't believe we've taken this particular subject matter and turned it into something so amusing and so unexpected. From the moment the play starts I think it pulls the rug out from under your feet, and it keeps doing it until the very end ... I can't wait to see how audiences respond." Leading independent theatre producers The Hayloft Project have recently made the move up from Melbourne to Sydney, and this is their first project developed in Sydney. They've had a brief but illustrious history, which under previous artistic directors Simon Stone and then Anne Louise Sarks saw them produce Thyestes and By Their Own Hands. This distinctly comedic turn from the company is one to catch. The Boat People is on at the Bondi Pavilion from May 29 to June 1. Tickets are $35/$25 (concession) from here, but thanks to the Rock Surfers, we have three double passes to the first preview on May 29 to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.sydney@concreteplayground.com.au with your name and address.
It's a risky and even cheeky move, packaging a film with a song that could be used to describe it. Thankfully, in the case of 2014's The Lego Movie and its instant earworm track, everything was indeed awesome. The animated flick's long-awaited sequel offers another self-assessment in closing credits tune 'Super Cool', however the description doesn't fit this time around. Nor do the words unbelievable, outrageous, amazing, phenomenal, fantastic and incredible, further praise sung by Beck, the Lonely Island and Robyn in the catchy and amusing song. Instead, The Lego Movie 2: The Second Part is fine, standard, okay and average. Of course, those words don't have the same ring to them, even if they were set to a thumping beat. The Lego Movie left its successors with big shoes to fill — or big bricks to emulate, to be more accurate — and this direct follow-up does so in an entertaining enough but never especially inventive or enthralling fashion. Call it a case of trying to build the same thing with different pieces. Call it constructing a masterpiece and then falling short with the next attempt. Call it a case of sticking too closely to the instructions again and again. Whichever one you choose, they all fit like rectangular plastic pieces stacked neatly on top of each other. You could also call it a case of following Emmet Brickowski's (Chris Pratt) lead, with the mini-figure's fondness for routine already well established in the first movie. He's so comfortable doing the same thing day in, day out that he's even happy to keep doing so in the new dystopian version of his hometown, Bricksburg. He knows that much has changed since alien invaders made from bigger blocks descended from the heavens. His brooding best friend Lucy (Elizabeth Banks) also reminds him all the time. But it isn't until General Sweet Mayhem (Stephanie Beatriz) arrives, bearing an invite from the Systar system's Queen Watevra Wa'Nabi (Tiffany Haddish) and sweeping Lucy, Batman (Will Arnett), Benny (Charlie Day), MetalBeard (Nick Offerman) and Unikitty (Alison Brie) away, that Emmet abandons his blissful monotony and springs into action. Viewers of the initial flick, The Lego Batman Movie and The Lego Ninjago Movie will remember two important aspects of the Lego Movie Universe. Firstly, mile-a-minute jokes and pop culture references are as much a part of the franchise as multicoloured bricks. Secondly, more often than not, the series' animated tales tie into a real-world scenario. While original directors Chris Lord and Phil Miller have handed over the reigns to Trolls filmmaker Mike Mitchell, their humour still bounces through in the movie's fast-paced script. And while The Lego Movie's big twist — that the whole story stemmed from kids simply playing with the titular toys — is old news now, The Lego Movie 2: The Second Part builds upon this idea. Once again, the film spends time with now-teenager Finn (Jadon Sand), who's still far from pleased that his younger sister Bianca (Brooklynn Prince) likes Lego as well. Cue The Lego Movie 2: The Second Part's troubles. Lightning rarely strikes twice, after all. The film serves up enough funny gags to keep audiences chuckling, throws in more than a few ace cameos and has the same infectious, anarchic vibe, but it was never going to feel as fresh. It also benefits from a fantastic overall message, but doesn't give it enough emphasis until late in the show. After pondering the divide between rules and creativity in the first picture, the franchise now contemplates collaboration, sharing and the gendering applied to playthings, roles and fandom. That's both smart and relevant, yet here feels underdone. Basically, anything new comes second to everything that's been done before, resulting in the most superfluous kind of sequel. This follow-up is happier rehashing its predecessor's glory days than channelling the ingenuity that made the original so charming. Of course, if The Lego Movie hadn't been such a vibrant, witty delight, then The Lego Movie 2: The Second Part wouldn't feel so familiar. An adequate addition to the series, it still contains plenty to distinguish it from other all-ages animated fare — including an eye-catching and distinctive animation style, enjoyable skewering of Pratt's many non-Lego characters, and Noel Fielding as a sparkly Twilight-esque vampire. But, five years on, viewers are now in the same situation as Lucy: ready to embrace a challenge, rather than falling back on comfortable old habits. https://www.youtube.com/watch?v=XvHSlHhh1gk
When Jemaine Clement and Taika Waititi invited the world to experience the vampire sharehouse mockumentary genre, one of the best comedies of the decade wasn't the only result. Every film seems to spawn sequels, remakes, spinoffs and the like these days, but no one's complaining about spending more time in the What We Do in the Shadows universe. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. So is six-episode television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, and expected to air in New Zealand mid this year. Add a US TV remake of the original flick to the pile as well, but withhold any "do we really need a remake?" judgement. First revealed by Waititi last year and now moving ahead, the pilot has been written by Clement, and is expected to shoot this year. He won't appear on camera, however; speaking to Indiewire as part of the Television Critics Association press tour for Legion, which he stars in, Clement said the series will be about a documentary crew in America. With What We Do in the Shadows actually starting its life as a short back in 2005, the concept of flatting members of the undead arguing about bloody dishes has taken quite the journey since those early beginnings. If any idea was going to come back in multiple guises, it's this one. Of course, so have Clement and Waititi. Clement also revealed that he'll be filming a Flight of the Conchords TV special for HBO later this year to coincide with their new US tour, while Waititi just directed a little superhero-filled box office blockbuster called Thor: Ragnarok. Via Indiewire. Image: Kane Skennar.
Sappho's is a cafe and wine bar as well as a secondhand bookshop, and it has the loyal custom of many of the local Sydney University students. The little shop has a huge range of books packed into every shelf, ranging in subject matter, and it has been hosting regular poetry nights for the last couple of years. You're always certain to find what you're looking for, and often in really nice editions: some of the copies from the 50s and 60s are so well kept you'll want to frame them. You're welcome to sit with a book and a glass of wine, or a jug of sangria, until the wee hours under the shade of the jasmine and banana trees. Image: Daniel Boud/Destination NSW.
When Netflix added DAHMER — Monster: The Jeffrey Dahmer Story to its catalogue in 2022, complete with WandaVision, Mare of Easttown and American Horror Story actor Evan Peters playing the titular IRL murderer, it popped another true-crime effort on its ever-growing pile. Whether Zac Efron is playing Ted Bundy in Extremely Wicked, Shockingly Evil and Vile, the sadly finished Mindhunter is tussling with real-life killers, or The Serpent, The Stranger and The Good Nurse are also dramatising reality, the streaming platform isn't short on movies and shows that bring grisly slices of history to its queue. Next up: the Menéndez brothers. When DAHMER — Monster: The Jeffrey Dahmer Story proved a hit, as it was predictably going to, Netflix made the next least-surprising move it could: it renewed Monster as an anthology series. At the time, the service revealed there'd be at least two more seasons— "two more instalments that will focus on other monstrous figures who have impacted society", in fact — but exactly who would be in the spotlight wasn't announced. Now, the platform has named Lyle and Erik Menendez as Monster's next subjects, and advised that Monsters: The Lyle and Erik Menéndez Story will arrive in 2024. There's still a shortage of details otherwise, including exactly when next year viewers will be streaming the show and who'll be starring in it — but this too is a well-known true-crime story that's earned plenty of media attention before now. In a teaser to announce the series, Monsters: The Lyle and Erik Menéndez Story plays the infamous 911 call featuring Lyle sobbing on the night that his parents died. For those new to the story, Lyle and his younger brother Erik were investigated, tried and convicted for the 1989 shootings of their parents José and Mary Louise 'Kitty' Menéndez, who were killed in their Beverly Hills home. Monster creator and prolific TV producer Ryan Murphy remains behind the series, adding another anthology effort to his resume after American Horror Story and American Crime Story. And whoever he gets to play the brothers, Monsters: The Lyle and Erik Menéndez Story isn't the only new dive into their tale that's heading to Netflix. The platform also announced that it's making a documentary feature about the case as well, aided by exclusive access to Lyle and Erik. Check out the teaser announcement video for Monsters: The Lyle and Erik Menéndez Story below: Monsters: The Lyle and Erik Menéndez Story will stream via Netflix in 2024. We'll update you with an exact release date when one is announced. DAHMER — Monster: The Jeffrey Dahmer Story is available to stream now via Netflix. Images: Netflix.
Her Banana's delicate handmade jewellery is the perfect way to treat yourself — or gift a friend, if you have the self-control. The small boutique store and studio focuses on minimalist designs that have a timeless quality, showcasing a collection of reasonably-priced rings, earrings and necklaces made of stirling silver and 14k gold. This is the sort of understated jewellery that will transcend seasonal trends. There's also the alluring opportunity to personalise your own piece, through lettering, length, engraving — or just about anything else you can think of. Visit the King Street shop and studio to purchase your own dainty design; or bring your special someone and not-so-subtly peruse the custom-designed engagement ring section together. Whatever your intention, staff go the extra mile to ensure you walk out the door happy.
Artists Jamie Cole and Murat Urlali use euphemisms and visual linguistics to challenge societal rhetoric, politics and stigma in Misplaced and Dangling, currently showing at Camperdown's Artsite Galleries. Part of the Sydney Gay and Lesbian Mardi Gras 2020 celebrations, the exhibition addresses ways of moving forward while still reflecting on the past. Cole's pop art-inspired works are bright and powerful, using a mix of collage, comic and stencil-art styles to cover everything from first loves to discrimination towards people with HIV. Urlali, on the other hand, draws on ancient Persian enamel techniques in his kitsch and overtly camp representations of the city of Rome. The exhibition is open from 11am–5pm every Thursday to Sunday until Sunday, March 1.
Ready for it? Whether you danced in the aisles at your local cinema or you haven't yet seen the concert film version of one of the biggest music tours currently traversing the globe, you'll be able to enjoy Taylor Swift: The 'Eras' Tour at home from Thursday, December 14. Swifties, you'll be able to celebrate the pop star and newly crowned TIME Person of the Year's blockbuster film to celebrate the singer-songwriter's birthday. That falls on Wednesday, December 13 in 2023; however, with the time difference, Taylor Swift: The 'Eras' Tour is hitting digital on the Thursday in Australia and New Zealand. If your wildest dreams have been about getting in on Taylor Swift's Eras tour since it was first announced, then the pop superstar comes bearing gorgeous and enchanted news, clearly — including while the movie is still in cinemas. Missed out on tickets to see Swift when she plays Melbourne and Sydney in early 2024? Consider this the next best thing. Look what the world made Swift do: turn her current massive tour into a movie that's also proven a smash, taking in almost $250 million at the worldwide box office since releasing in October, ranking it in the top 20 for takings so far this year. While fans have been able to experience a money-can't-buy view of the 'Shake It Off', 'We Are Never Getting Back Together' and 'Bad Blood' musician's gig — working through her entire career so far, playing tracks from each of her studio albums in a three-hour, 44-song, ten-act spectacular — on the big screen, the extended version is coming to digital. Accordingly, donning your friendship bracelets at home means seeing three songs performed that aren't in the theatrical cut. The IRL Eras Tour kicked off in March in the US, then headed to Mexico, Argentina and Brazil. Next on the list: Japan, Singapore, France, Sweden, Portugal, Spain, the UK, Ireland, The Netherlands, Switzerland, Poland, Italy, Germany, Austria, Canada, a return to the US and, of course, Australia, all in 2024. Check out the trailer for Taylor Swift: The 'Eras' Tour Concert Film below: Taylor Swift: The 'Eras' Tour is still in cinemas, and will be available to rent on digital from Thursday, December 14 in Australia and New Zealand. Read our review.
Following the announcement of this year's theme for the Sydney Writers' Festival, Concrete Playground caught up with the festival's artistic director, Chip Rolley. Texan-born Rolley, 47, reveals his personal take on the 2012 theme: the fine line between what is public and private. Read what Rolley as to say about the question of privacy - "the question of our time" - and start getting amped for the festival, which kicks off May 14. Concrete Playground (CP): This year's SWF focuses on the line between public and private matters. Why do you think that this topic is relevant to modern readers and writers? Chip Rolley (CR): I'll never forget when the ex-News of the World journo Paul McMullan told the UK Leveson Inquiry into the media, "Privacy is for paedos." The audacity of it: if you're concerned about privacy, you must have something to hide. That crystallised for me the question of where we draw the line between public and private. The sense that that line is vanishing has been building for years. Not just because of UK scandal rags, or even the increased state security apparatus. But with social media we post things about ourselves that in previous times we might not have even told our loved ones. It seems to me it's the question of our time. CP: How does this issue affect the artistic community? CR: It turns out the question we are all asking ourselves now is one that writers have been asking themselves for years. Any person who writes a biography or a memoir asks themselves this question. How much do I reveal – about myself or family members? How far do I go into the personal life of the public figure I'm writing about? Fiction writers, who often rework the stuff of life into their novels wrestle with this as well. Sydney Writers' Festival seemed to me a natural opportunity to explore this issue and to look at Australia's and the world's writing through this prism. CP: Can the breaking down of the public/private barrier be beneficial to readers? Does this create a more authentic author-to-reader experience? CR: I don't know about "more authentic". There will always be an art to writing – to rendering life and experience through words. But those memoirs that take a really liberal approach to the question (have a look at Joshua Cody's [sic]) can often be invigorating as a result – but only if done well… CP: How has this affected the accessibility of literature? CR: In one sense the Internet and social media have made all of us writers. We are all exploring these issues – deciding what to reveal and what to keep to ourselves. Perhaps that will lead to a wider understanding of writing or a greater appreciation of art in doing it well. CP: Some forms of writing (autobiography, memoir, etc.) are distinctly personal. How do you expect works and authors who work in these genres to contribute to the festival? CR: We explore myriad genres every year and this year is no different. There are some events that directly address the theme, such as "You Must Have Something To Hide" (which looks like it will sell out). Two other big events – "The Feminist Supremacy?" and "Why Get Married When You Could Be Happy?" – take the temperature of the two great social movements of the past 40 years (the women's movement and the gay liberation movement) – both of which relied on the transformative idea that the personal is political. But the beauty of the theme is that it will pulse through all the events, whether they directly address this issue or not. It will percolate through conversations as people spill in and out of the venues and it will emerge in ways we don't even yet see. CP: Do you think it is possible to be a writer, yet maintain your privacy? CR: I do think it's possible, if only to save your material for a rainy day…
It has been said that describing Burning Man Festival to a person who has never been is like trying to explain what a particular colour looks like to a person who is blind. But perhaps this is no longer the case. Aerial footage has been released of the recent 2013 Festival, taken from a drone. Held two weeks ago, Burning Man was captured on camera by San Franciscan filmmaker Eddie Codel. Taken from a DJI Phantom Quadrocopter — a pilotless mini-aircraft with four propellers — fitted with a GoPro camera, the impressive HD footage is currently one of the best and fastest available introductions to the famous festival. This 360-degree tour pans slowly over the festival during the daytime, functioning to communicate a snapshot of the immense size and sparsity of the constructed city. It reveals close detail of the installations and artworks set up in the desert and at times comes very close to people. Held in the Black Rock Desert in northern Nevada, Burning Man draws in a crowd of approximately 50,000 each year. First established in 1986, the seven-day event welcomes attendees from all over the world, encouraging radical art and self-expression through the construction of a temporary community. The city is built the week before Labor Day, on an ancient lake bed, 100 miles north of Reno. Perhaps it's true that to truly understand Burning Man, one must participate. In the meantime, however, the drone tour certainly gets you very close. https://youtube.com/watch?v=m2ThTb6iffA Via Mashable.
Let's face it: we're a fast-paced, high-stress society — and although we would like life to slow down for a second (or for Internet to go down just for a few days, at least), it's not going to let up. To manage your physical and mental health in this crazy world, UK-based startup Vinaya have created a bracelet that is wholly concerned with tracking your emotional wellbeing. The wearable device — the first of its kind — is the first to measure sleep and fitness, as well as happiness, stress and mindfulness. It even tracks fertility (kind of creepy, we know). The wearable, named Zenta, was 100 percent crowdfunded on Indiegogo in record time this week, raising a whopping $137,191 USD in just 41 hours. The product looks like a more stylish version of a Fitbit, and is available with a sports band ($119 USD) or a leather band ($149 USD). And while you can purchase one now, the bracelets won't ship until mid-2017. Here's how it supposedly works. The biometric sensors track your heart rate, movement and perspiration, as well as respiration, electrical activity and oxygen levels. These patterns will then be cross-referenced with the information (like your calendars, meeting schedules and social media use) from your smartphone — though you only share as much (or as little) as you want. The Zenta app is essentially meant to 'learn' your patterns and determine your normal emotional state, as well as decipher any variations from your norm and indicate what caused those variations. As Zenta learns, the idea is that it will require less input from you and get smarter about shifts in your emotional state. Vinaya is already talking with research institutions, mental health organisations and mindfulness experts to make sense of the Zenta data. We must admit, we're sceptical about where this data will end up — the thought it landing in the hands of advertisers, marketers or Google is a pretty frightening concept. Still, if the device helps bring some sense of calm to the stressed-out masses, we would like to see it in action. Zenta is currently available for purchase through Indiegogo. The estimated shipping date is mid-2017.
May has the Eta Aquarid meteor shower, June boasts the Delta Aquariids and December welcomes the Geminids. In November, however, it's Leonids time. Arriving at the end of spring in Australia and New Zealand, the Leonids may not be quite as well known as some of its counterparts, but it's still a shower worth looking up for. And it's famous for one impressive reason: its spectacular meteor storms. It can feature more than 1000 meteors per hour, but that only occurs around every 33 years — and, sadly, the most recent occurred in 2001. Still, while you won't spy that kind of intense onslaught in 2021, you will still see meteors. The Bureau of Meteorology predicts there'll be around five per hour hurtling across the heavens on average. At its peak, timeanddate.com predicts ten per hour. In good news for those Down Under, the Leonids can be seen in the Southern Hemisphere. Although it runs from Saturday, November 6 until Tuesday, November 30, this year it'll be best detected between Wednesday, November 17 and Thursday, November 18. Like many astronomical shows, catching an eyeful after midnight is recommended (aka when the moon has set and its light will not interfere). Specifically, for the best view, mark the early hours of Thursday, November 18 in your calendar. Named for the constellation of Leo, which is where it appears to radiate from in the sky, the Leonids aren't just renowned for its huge showers approximately three times each century, but also for its place in history. During the storm of 1833, it has been estimated that more than 100,000 meteors streamed across the sky per hour — and, as a result, the Leonids helped play a part in the formulation of the first theory about the origin of meteors, NASA notes. The Leonids stem from the Comet Tempel–Tuttle, which was actually first officially recognised after the famous meteor shower of 1833 — in 1866, in fact. And, if you're wondering why the Leonids' storms only hit every 33 years or so, that's because that's how long it takes for the comet to orbit around the sun. [caption id="attachment_751114" align="aligncenter" width="1920"] The peak of the 2009 Leonids meteor shower. Image: Navicore via Wikicommons.[/caption] For your best chances of getting a glimpse, the usual advice applies. Get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. And, given that the Leonids originate from the Leo constellation, that's what you'll be looking for in the sky. To locate Leo, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). The Leonids meteor shower runs between Saturday, November 6 until Tuesday, November 30. Top image: Mike Lewinski via Flickr.
In the ever-dynamic arms race to create Sydney's best sandwich, it's not easy to make a product that sticks out against so much delicious competition. But Chandni and Ankit, the wife-and-husband co-owners of Pyrmont's newly opened Eat Ozzo, have come up with something special. Ask any restauranter: the secret to sandwiches is the bread. So why opt for another crunchy cracked sourdough or doughy milk toast when you can have your sandwich in 48-hour fermented Neopolitan bread instead? It all started with an aha moment on a trip to Italy, where the duo first bit into Neopolitan pizza bread. After months of research into breadmaking, the couple took a secondhand oven to Pyrmont's Pirrama Park to give away sandwiches for free in search of feedback. Once they decided they were onto something, they committed to the idea full time. The Ozzo bread goes through a meticulous preparation process, with 48 hours of hot and cold fermentation to reduce the weight in the bread and improve its impact on gut health. Bread is baked fresh to order, and you'll find a multicultural mix of fillings to choose from. The Porchetta Fiasco, for example, features marinated crispy pork belly, 'nduja, herb gremolata, spicy eggplant and braised greens. While the Bresaola Affair is packed with Korean wagyu bresaola, whipped ricotta, smoked eggplant, zucchini, bell peppers and rocket. All ingredients are sourced from local suppliers, including butter and cream from Pepe Saya, cheese from Marrickville's Vanella and Haberfield's Paesanella and pistachio butter from Gelato Messina. There's nothing fried on the menu, and artificial additives are also avoided. You can opt for breakfast fillings before 11am, with bacon and egg, smashed avo and Persian feta among the options. And if the sandwiches look too sizeable to handle, go for a smaller Junior Ozzo instead, which can come with za'atar, Pepe Saya Butter, Messina hazlenut paste, forest berries and more. The menu features nods to tradition, too, with eight-inch folded pizzinos (inspired by Naples' famed street food pizza al portafoglio) available during the day, and 13-inch 'neo-Neopolitan' pizzas available after dark. On the drinks front, you'll find Five Senses coffee, as well as cold drinks like strawberry matcha and virgin mojitos all day long. For a sweeter finish — get a slice of cake to round out your meal. Find Eat Ozzo at Level G/80 Pyrmont Street, Pyrmont — open from 7am–7pm Sunday and Monday, and 7am–11pm Tuesday to Saturday. For more information, visit the venue's website.
Ever wanted to own your very own theme park? Port Macquarie's old pseudo-Disney theme park Fantasy Glades is up for sale. Remember Fantasy Glades? A sort of creepy but loveable Disneyland, Fantasy Glades was home to Snow White's cottage, Cinderella's castle, the Old Woman in the Shoe's shoe, the Crooked Man's House, a totally whack Magic Dragon Cave and the freakiest Witch's Cottage you've ever, ever seen, before it closed in 2002. Now it's up for sale on Gumtree, for a measly $560,000. Why? "Massive price reduction, owner needs to move on," according to the listing. Oh. For just $500K, you can nab 1.6 hectares of tropical rainforest, dotted with creepy and pretty dilapidated fantasy character homes at Shelly Beach. Some of the former fairytale homes have been vandalised, because people suck. But you get your own castle. Your. Own. Castle. Owners Shane and Karen Hay are after a quick sale, hence the low price. It all sounds pretty heartbreaking. "Owner prepared to sacrifice this once in a lifetime opportunity. Your chance to own a piece of history... once one of Port Macquarie's favourite tourist attractions." If you ever visited Fantasy Glades, you'll be slightly cut up about this. It'd be like owning a piece of Peppermint Park. Fantasy Glades ran at 44 Parklands Cl, Port Macquarie for a whopping 35 years, after total legends George and Rosemary Whitaker opened the park in 1968. Then in the late '80s, FG was snapped up by the Spry family and Brian Hutchinson, and closed in 2002. But there was a glimmer of hope for Port's answer to Waltland, with the Hays buying the property in '09 hoping to restore the park to its former glory. But it looks like six years later, the Hays are skipping to the end of the Fantasy Glades story. Sad stuff. So, for $500K in Port Macquarie, you can buy your own theme park. In the Sydney CBD, you're looking at a laundry room on Bond. Maybe. For the interested or nostalgic, here's a map of your brand new home: YouLand. Images: Fantasy Glades.
Darlinghurst's much-loved ramen joint Chaco Bar had been serving up authentic Japanese fare to Sydneysiders for over five years when it decided to expand into Potts Point. The new space is a dedicated yakitori joint based in the old Jimmy Liks space. Owner Keita Abe had been hoping to focus more on both his ramen and yakitori offerings — so chose to split the concepts altogether. Abe snatched up the Victoria Street space because it was already approved to have a charcoal grill, which can be a feat to obtain as it requires specific ventilation. At the new Potts Point Chaco Bar, you can expect a similar Fukuoka-inspired yakitori offering to what was on offer in Darlo. Think skewers of organic pork belly, wagyu tongue, and miso eggplant; plus, all parts of the chicken, including thigh, wing, heart, tail and gizzards. An omakase menu is also up for grabs. Expect big things from the new restaurant's fit-out, too, which was looked after by designer Matt Darwon — his work can also be seen inside Crown Street's Toko and at Clayton Wells' Automata. It' all, of course, centres on a robata grill and a woodfired stove, with all of the fiery cooking on display from an open kitchen. As far as the existing Darlinghurst location is concerned, it's now dubbed Chaco Ramen and only focuses on the namesake dish. Images: Cassandra Hannagan You'll find Chaco Bar in our list of the best degustations in Sydney. Check out the full list here.
This year may have gotten off to a chaotic start, but that doesn't mean the country's (or your) cultural calendar is looking too bare. Some of 2022's most exciting and immersive art and museum exhibitions have either just opened their doors across the nation or are on their way before the year is out — which means you've got plenty to see in plenty of places. That's especially exciting now that interstate borders are all fully open across the entire country, and cheap flights keep popping up with frequency, too. So, get out your diaries and plan trips to dive into all things Disney, peer at Yayoi Kusama's finest in two different cities, scope out Picasso's best and fall in love with Elvis paraphernalia — aka some of the art and museum exhibitions set to brighten up 2022. Top image: Raemar, Blue, 1969, James Turrell. Tate: Presented by the Tate Americas Foundation, partial purchase and partial gift of Doris J. Lockhart 2013. © James Turrell. Photo: Tate.
When you're up for an out-of-town adventure, head south to Bulli. The rockpool dates back to the 1930s and sits against the cliff on the headland with sandy beaches to either side. Waves breaking against the wall of this 50-metre seawater pool make it feel like you're doing laps at the edge of the world. When you're all swum out, explore the gorgeous seaside town of Bulli. Historic buildings include the Bulli Heritage Hotel, established in 1889. It's now a vibrant live music venue that also does a top pub feed. Or, go from the pool to Bulli Beach Cafe for cocktails and fresh seafood with an ocean view. [caption id="attachment_795671" align="alignnone" width="1920"] Dee Kramer via Destination NSW[/caption] Images: Destination NSW
Cash-strapped culture seekers — this one's for you. Sydney Festival is going toe-to-toe with the cost-of-living crisis with a bunch of unmissable performances that won't cost you a cent to see. From avant-garde art installations to symphonic spectaculars under the stars, here is our pick of the best free events to catch during Sydney Festival 2025, January 4–26.
Sometimes, you need to take a break from your city, to get out and soak up the sun somewhere new. Sydney's sun-plenty northern beaches are the perfect destination, they're bursting with, well, beaches where you can ride the waves, catch some rays and let your worries dissipate. Moreover, there's a thriving foodie scene. Come the weekend, the folks on the beaches will be set up at cafes overlooking the sand, a specialty brew in one hand and a healthy breakfast burrito in the other — and you should be, too. To help you out, we've partnered with Qantas and curated a list of the best cafes on the northern beaches, perfect for your next cuppa. Get away from everything stressful at home, relax, and make the most of your Sydney escape.
With just three months until we find out who will officially ascend the Iron Throne, Game of Thrones fans are facing a bittersweet farewell as the final season of the cult show looms ever closer. While we may be eagerly awaiting to see who'll ultimately survive the winter, saying goodbye to the show forever will be harder than watching the Red Wedding on repeat. However, living for the thrills that come out of all this Westerosi drama won't be totally lost. Alas, a musical parody (or shall we say homage) is coming to Sydney, gracing the stage of a venue befitting so epic a story: the Sydney Opera House. The A Song of Ice and Fire series from mastermind George RR Martin is given new life in musical form, telling the tale of a group of avid fans preparing to watch the final season. When one reveals they are a GoT virgin, the rest of the group tell the story themselves — with music. From the acclaimed producers at Spark Creative, the brains behind Baby Wants Candy, Shamilton and 50 Shades! The Musical Parody, the show comes to Sydney after selling out in Edinburgh, New York and Chicago. Featuring an original score, a vast array of costumes to cover the forty characters played by the ensemble and wit sharper than Valyrian steel, this show is sure to be a hit with fans and those unknowing John Snows, alike. So call your banners, mount your dragons, blow your horn three times and march down to the Opera House to see whether or not Theon, Grey Worm and Varys have the vocal range their characters should. This 'Long Night' of lust, laughter and lacerations (and surely a few White Walkers for good measure) runs from Wednesday, June 5 to Sunday, June 23. Tickets are on sale now and start at $45.
Swillhouse has added to its collection of moody underground venues with the opening of The Caterpillar Club, a new inner-city haunt specialising in sultry tunes. The team behind beloved subterranean standouts Frankie's (RIP), Restaurant Hubert and Shady Pines — as well as Le Foote and Alberto's Lounge — has just opened the doors to its latest venue, a walk-in-only record bar and live music den. Discover the venue's hidden entryway tucked away among office buildings and convenience stores on Pitt Street, then descend down the stairwell to find the expansive new cocktail bar and lounge in all of its glory. On entry, you'll find an ultra-long bar backed by shelves filled with more than 10,00 records. At the end of the bar, there's a DJ spinning vinyl from the team's personal collection, before the space opens up into a lounge area with conjoining booths and a stage for bands to perform. Live music will kick off at the venue from the week commencing Monday, December 18. Expect a genre-less list of performers to pop up on the stage, with an emphasis on jazzier sounds. Leading the kitchen is culinary superstar Isobel Little (ex-LP's Quality Meats), who's crafted a casual but sophisticated selection of eats, including next-level cheeseburgers, tuna melts and pies. The final element of The Caterpillar Club is the hidden speakeasy. Found through a discrete door out the back, The Bamboo Room serves as a secret cocktail den for those in the know, reviving memories of Frankie's famous Fun Room. The venue not only serves as another exciting place to get a drink and listen to good music in Sydney, but also adds to the growing number of venues reviving the city's status as a late-night destination. Licensed until 5am, The Caterpillar Club will be keeping the martinis flowing, vinyl spinning and kitchen open all the way until 3am Sunday–Thursday, and 4am Friday–Saturday. The Caterpillar Club is now open at 92 Pitt Street, Sydney. Follow the venue's Instagram to stay up to date with everything happening at the new opening. Images: Andrea Veltom.
There are many reasons why we wear jewellery — be it because you're feeling sentimental, wanting to make a statement or needing to give an outfit a little extra oomph. But, really, it all boils down to one thing: it brings you joy. The added bonus comes from knowing your favourite statement necklace or everyday bracelet was created by a local artisan — someone who lovingly crafts each piece. From goldsmiths and jewel aficionados to lovers of precious metals and old recyclable watch parts, Australian jewellers are as impressive and trendsetting as they are creative. So, don't think twice about it. In partnership with American Express, we've handpicked a bunch of gorgeous designs from local Australian jewellery makers that you should treat yourself to and wear with pride.
Head down Skittle Lane and you'll discover a mad scientist's lab of experimental libations. PS40 was opened in 2016 by Michael Chiem and Thor Bergquist, the creators of PS Soda — an alternative to sugary, soulless mixers. While it was originally a way to showcase these bright and bubbly drinks, it's since evolved to become a hotspot for some of this city's most innovative cocktails. Over the years, the cocktail list has leaned on highly conceptual iterations, where each cleverly crafted concoction has been a chapter in a broader story. However, more recently, the menu has become focused on tried and true staple signatures such as the Africola, which mixes Mr Black's coffee liqueur with native cola and hot coconut foam for a flavoursome drink that fills your mouth with two distinct textures and temperatures at the same time. There's also the Breakfast Negroni, which delivers a wave of flavours created by infusing the ingredients with banana bread, coffee bean and tonka bean. A tight selection of snacks is available for those who get peckish, including Catalan-style flatbread, mortadella sliders and wonton tostadas topped with kingfish ceviche and kumquat kosho. The bar flexes its collaboration muscles every Tuesday, elevating the eats on offer with its weekly Takeover Tuesdays. Here, beloved restaurants and bars around Sydney move into the PS40 kitchen for one night, concocting a one-off menu to accompany the cocktails. And, you don't even have to visit the bar to enjoy the drinks. During the pandemic, the team created their PS40 Snack Pack of cocktails that were made to be enjoyed at home — and they still deliver now. [caption id="attachment_654873" align="alignnone" width="1920"] Alana Dimou[/caption] Images: Alana Dimou, Michael Chiem Appears in: The Best Bars in Sydney
If you were one of the many (46,000 to be exact) people on the waiting list for London's pop-up nude restaurant The Bunyadi earlier this year, then you'll be stoked with the news that Spain is set to open its own nude restaurant — only this one will be permanent. Yep, there'll be nude meals all year-round at Innato Tenerife, which will be located on the largest of the Canary Islands, Tenerife. According to The Local, the restaurateur behind the concept Tony de Leonardis was inspired by the London pop-up and will have a similar no clothes, no phones policy. Unfortunately that doesn't mean no wallets though — you'll have to pay a hefty price of €70 for the privilege, which includes an all-inclusive buffet. Perhaps most interesting is the table situation — the waitstaff won't just bring your food, they'll stick around so you can eat it off them too. Yum? Apparently they will be wearing loin cloths and vine leaves though. For modesty. Apart from that weird feature, the setting sounds rather nice. Innato will be located in candle-lit private gardens in the town of San Isidro, with room for 44 to dine among fruit trees. Sounds very Garden of Eden. It will open on January 20 next year — here's the Facebook event if perchance you're naked and in town. Via The Local.
Our Flag Means Death might be no more, after the pirate rom-com was cancelled after two seasons, but getting giggling at Rhys Darby is still on the agenda. The New Zealand comedian has hardly been away from the screen for more than 15 years, ever since Flight of the Conchords became one of HBO's best-ever sitcoms, so he's been inspiring laughs for years. For the first time in nearly a decade, however, he's returning to the stand-up stage — and he's just locked in an Australian tour. At the beginning of each year, Aussies enjoy a chuckle when comedy festival season sweeps the nation's east coast. Darby is on the Brisbane Comedy Festival and Sydney Comedy Festival lineups, and will also play Melbourne, Adelaide, Perth, Canberra, Hobart and Newcastle. In fact, he's making nine stops around the country throughout April 2025. [caption id="attachment_915747" align="alignnone" width="1920"] Our Flag Means Death, Nicola Dove[/caption] "I'm so excited to return to the stage, a bit older, a bit wiser but mostly a bit sillier than ever before!" said Darby, announcing the tour, which kicks off from Tuesday, April 8–Sunday, April 13 at Melbourne's Athenaeum Theatre and ends on Wednesday, April 30 at the Princess Theatre in Brisbane. Fans can expect gags about AI, robots, dads wearing tight jeans and more — and the mix of absurdity and insights that have always marked Darby's brand of comedy. [caption id="attachment_980410" align="alignnone" width="1920"] Gage Skidmore via Flickr[/caption] Between calling band meetings on Flight of the Conchords and finding love while swashbuckling on Our Flag Means Death, his career has spanned everything from The X-Files, A Series of Unfortunate Events and Wellington Paranormal to Sweet Tooth, SpongeBob SquarePants and Monsters at Work on the small screen. On the big screen, Darby has also been a frequent presence, thanks to The Boat That Rocked, What We Do in the Shadows, Hunt for the Wilderpeople, Jumanji: Welcome to the Jungle, Jumanji: The Next Level, Uproar, Next Goal Wins and plenty more. Rhys Darby The Legend Returns 2025 Tour Dates Tuesday, April 8–Sunday, April 13 — Athenaeum Theatre, Melbourne Tuesday, April 15 — Norwood Concert Hall, Adelaide Thursday, April 17 — Odeon Theatre, Hobart Saturday, April 19 — Canberra Theatre, Canberra Tuesday, April 22 — Newcastle City Hall, Newcastle Wednesday, April 23 — Anita's Theatre, Thirroul Thursday, April 24 — Enmore Theatre, Sydney Sunday, April 27 — Regal Theatre, Perth Wednesday, April 30 — Princess Theatre, Brisbane Rhys Darby is touring Australia in April 2025, with pre-sale tickets from 10am on Wednesday, November 20, 2024 and general tickets on sale from 10am on Friday, November 22, 2024. Head to the tour website for more details.
In a perfect world, all films would get a run on the big screen everywhere that shows them. Alas, that isn't the world that we live in. But just because a feature misses a season at the cinemas in Australia — playing at film festivals before hitting digital, perhaps, or made for and only ever set to stream — that doesn't mean that it can't be a gem, as our picks for the 15 best straight-to-streaming movies of 2023 makes plain. Indeed, the finest films of the year didn't only play on the silver screen. See: Michelle Williams' latest stellar performance, an Oscar-nominated documentary and a playful vampire effort from the director of Spencer, plus new treats from Wes Anderson, inventive horror movies, standout biopics and revived franchises, too. In fact, even cinephiles who basically live at their local picture palace know that theatres aren't the only place to catch the year's standout flicks. After we surveyed the best straight-to-streaming movies of 2023's first half in June, we've now done the same from across the entire year. Make your own popcorn, grab a drink, get comfortable on your couch, and there's your next at-home movie night — or 15 — taken care of. (And yes, we're bunching Anderson's recent shorts together and counting them as one project, because that's how they are best watched.) SHOWING UP Kelly Reichardt and Michelle Williams are one of cinema's all-time great pairings. After 2008's Wendy and Lucy, 2010's Meek's Cutoff and 2016's Certain Women, all divine, add Showing Up to the reasons that their collaborations are an event. Again, writer/director Reichardt hones in on characters who wouldn't grace the screen otherwise, and on lives that rarely do the same. With her trademark empathy, patience and space, she spends time with people and problems that couldn't be more relatable as well. Her first picture since 2019's stunning First Cow, which didn't feature Williams, also feels drawn from the filmmaker's reality. She isn't a sculptor in Portland working an administration job at an arts and crafts college while struggling to find the time to create intricate ceramic figurines, but she is one of America's finest auteurs in an industry that so scarcely values the intricacy and artistry of her work. No one needs to have stood exactly in Showing Up's protagonist's shoes, or in Reichardt's, to understand that tussle — or the fight for the always-elusive right balance between passion and a paycheque, all while everyday chaos, family drama and the minutiae of just existing also throws up roadblocks. Showing Up couldn't have a better title. For Lizzy (Wiliams, The Fabelmans), who spends the nine-to-five grind at her alma mater with her mother (Maryann Plunkett, Manifest) as her boss, everything she does — or needs or wants to — is about doing exactly what the movie's moniker says. That doesn't mean that she's thrilled about it. She definitely isn't happy about her frenemy, neighobour and landlord Jo (Hong Chau, Asteroid City), who won't fix her hot water, couldn't be more oblivious to anyone else's problems and soon has her helping play nurse to an injured pidgeon. Reichardt spins the film's narrative around Lizzy's preparations for a one-night-only exhibition, including trying to carve out the hours needed to finish her clay pieces amid her job, the bird, advocating for a liveable home, professional envy and concerns for her alienated brother (John Magaro, Past Lives). The care and detail that goes into Lizzy's figurines is mirrored in Reichardt's own efforts, in another thoughtful and resonant masterpiece that does what all of the filmmaker's masterpieces do: says everything even when nothing is being uttered, proves a wonder of observation, boasts a pitch-perfect cast and isn't easily forgotten. Showing Up streams via Google Play, YouTube Movies, iTunes and Prime Video. ALL THAT BREATHES Pictures can't tell all of All That Breathes' story, with Delhi-based brothers Nadeem Shehzad and Mohammad Saud's chats saying plenty that's essential. In the documentary's observational style, their conversation flits in and out of the film — sometimes, there's narration, too — giving it many meaningful words. Still, the images that Shaunak Sen (Cities of Sleep) lets flow across the screen in this Sundance- and Cannes-winner, and also 2023 Oscar-nominee, are astonishing. And, befitting this poetic meditative and ruminative doco's pace and mood, they do flow. All That Breathes' main pair adore the black kites that take to India's skies and suffer from its toxic air quality, tending to the creatures' injuries. As Sen watches, he adores them as well. Viewers will, too. Indeed, if there wasn't a single syllable uttered, with the movie just leaning on cinematographers Ben Bernhard (Talking About the Weather), Riju Das (14 Phere) and Saumyananda Sahi's (Trial by Fire) sights, plus Niladri Shekhar Roy ('83) and Moinak Bose's (Against the Tide) sound recording, the end result still would've been revelatory. This film trills about urban development, its costs and consequences, and caring for others both animal and human — and it chirps oh-so-much. It notes how everything that the earth's predominant inhabitants do has environmental impacts for the creatures that we share the planet with, including quests for economic dominance and political control. All That Breathes peers on as its subjects' tasks get harder even as they earn global attention, receive more funding and build their dream hospital. It sees how they put the majestic kites' wellbeing above their own, even as the numbers of birds needing their help just keeps growing. This is a documentary about animals falling from the skies due to pollution, two siblings trying to help them soar again, why that's so vital and what the whole situation says about life on earth — and it's vital and spectacular viewing. All That Breathes streams via Binge. THE WONDERFUL STORY OF HENRY SUGAR, THE SWAN, THE RAT CATCHER AND POISON Fresh from stepping into a play as a live production in a TV show in Asteroid City, and also flicking through a magazine's various articles in The French Dispatch before that, Wes Anderson now gets an author sharing his writing in The Wonderful Story of Henry Sugar. The 39-minute short film features Ralph Fiennes (The Menu) as Roald Dahl, who did indeed pen the tale that gives this suitably symmetrically shot affair its name — the book it's in, too — with the account that he's spilling one of several in a film that enthusiastically makes Anderson's love of layers known in its playful structure as much as its faux set. So, Dahl chats. The eponymous Henry Sugar (Benedict Cumberbatch, Doctor Strange in the Multiverse of Madness) does as well. And, Dr Chatterjee (Dev Patel, The Green Knight) and his patient Imdad Khan (Ben Kingsley, Shang-Chi and the Legend of the Ten Rings) also have a natter. The stories within stories within stories (within stories) share the fact that Khan has learned to see without his eyes, Chatterjee couldn't be more fascinated and Sugar wants to learn the trick for himself — to help with his gambling pastime. In his three decades as a filmmaker, Anderson has only ever made both features and shorts with one of two people responsible for their ideas: himself, sometimes with Owen Wilson (Haunted Mansion), Noah Baumbach (White Noise), Jason Schwartzman (The Hunger Games: The Ballad of Songbirds & Snakes) and/or Roman Coppola (Mozart in the Jungle) contributing; and Dahl. With the latter, first came Anderson's magnificent stop-motion Fantastic Mr Fox adaptation — and now The Wonderful Story of Henry Sugar sits among a series of four new shorts based on the author's work. This is still a dream match, with the director's beloved jewel and pastel colours, dollhouse-esque visuals, moving sets, love of centred framing and dialogue rhythm all proving a treat in this account of personal and spiritual growth. The cast is as divine on-screen as it sounds on paper, too, especially Cumberbatch and Patel. The next in the set, the 17-minute The Swan, pushes Rupert Friend (High Desert) to the fore in a darker tale about a bully. Throw in The Rat Catcher (about a small village with a vermin issue) and Poison (charting a life-and-death situation in British-occupied India) — each similarly 17 minutes in length — and there's only one thing to do: package them together as an anthology film. The Wonderful Story of Henry Sugar, The Swan, The Rat Catcher and Poison stream via Netflix. Read our full review. EMILY THE CRIMINAL Enterprising, astute, intelligent and accepting zero garbage from anyone: these are traits that Aubrey Plaza can convey in her sleep. But she definitely isn't slumbering in Emily the Criminal, which sees her turn in a performance as weighty and layered as her deservedly Golden Globe- and Emmy-nominated portrayal in the second season of The White Lotus — something that she's been doing since her Parks and Recreation days anyway. Indeed, there's more than a touch of April Ludgate-Dwyer's resourcefulness to this crime-thriller's eponymous figure. Los Angeles resident Emily Benetto isn't sporting much apathy, however; she can't afford to. With $70,000 in student loans to her name for a college art degree she isn't using working as a food delivery driver, and a felony conviction that's getting in the way of securing any gig she's better qualified for for, Jersey girl Emily breaks bad to make bank when she's given a tip about a credit card fraud ring run by Youcef (Theo Rossi, Sons of Anarchy). Her simple task: purchasing everything from electronics to cars with the stolen numbers. Writer/director John Patton Ford makes his feature debut with this lean, sharp, keenly observed and tightly paced film, which works swimmingly and grippingly as a heist thriller with plenty to say about the state of America today — particularly about a society that saddles folks starting their working lives with enormous debts, turning careers in the arts into the domain of the wealthy, and makes even the slightest wrongdoing a life sentence. Emily the Criminal is angry about that state of affairs, and that ire colours every frame. But it's as a character study that this impressive film soars highest, stepping through the struggles, troubles and desperate moves of a woman trapped not by her choices but her lack of options, all while seeing her better-off classmates breeze through life. As she usually is, Plaza is mesmerising, and adds another complicated movie role to a resume that also boasts the phenomenal Ingrid Goes West and Black Bear as well. Emily the Criminal streams via Binge and Netflix. EL CONDE What if Augusto Pinochet didn't die in 2006? What if the Chilean general and dictator wasn't aged 91 at the time, either? What if his story started long before his official 1915 birthdate, in France prior to the French Revolution? What if he's been living for 250 years because he's a literal monster of the undead, draining and terrifying kind? Trust Chilean filmmaking great Pablo Larraín (Ema, Neruda, The Club, No, Post Mortem and Tony Manero) to ask these questions in El Conde, which translates as The Count and marks the latest exceptional effort in a career that just keeps serving up excellent movies. His satirical, sharp and gleefully unsubtle version of his homeland's most infamous leader was born Claude Pinoche (Clemente Rodríguez, Manchild), saw Marie Antoinette get beheaded and kept popping up to quell insurgencies before becoming Augusto Pinochet. Now holed up in a farm after faking his own death to avoid legal scrutiny — aka the consequences of being a brutal tyrant — the extremely elderly figure (Jaime Vadell, a Neruda, The Club, No and Post Mortem veteran) is also tired of eternal life. The idea at the heart of El Conde is a gem, with Larraín and his regular co-writer Guillermo Calderón plunging a stake into a despot while showing that the impact of authoritarianism rule stretches on forever (and winning the Venice International Film Festival's Best Screenplay Award this year for their efforts). The execution: just as sublime in a film that's both wryly and dynamically funny, and also a monochrome-shot visual marvel. A moment showing Pinoche licking the blood off the guillotine that's just decapitated Antoinette is instantly unforgettable. As Pinochet flies above Santiago in his cape and military attire in the thick of night, every Edward Lachman (The Velvet Underground)-lensed shot of The Count — as he likes to be called by his wife Lucia (Gloria Münchmeyer, 42 Days of Darkness), butler Fyodor (Alfredo Castro, The Settlers) and adult children — has just as much bite. El Conde's narrative sets its protagonist against an accountant and nun (Paula Luchsinger, Los Espookys) who digs through his crime and sins, and it's a delight that punctures. As seen in the also magnificent Jackie and Spencer, too, Larraín surveys the past like no one else. El Conde streams via Netflix. FLORA AND SON No filmmaker believes in the power of music quite like John Carney. In Flora and Son, the Once, Begin Again and Sing Street writer/director again lets his favourite refrain echo, this time with an Irish single mother, her rebellious teenage boy and the American guitarist who she pays to give her lessons via zoom. The eponymous Flora (Eve Hewson, Bad Sisters) feels like she's never had an adulthood of her own after falling (swiftly, not slowly) pregnant at the age of 17 to musician Ian (Jack Reynor, The Peripheral) — whose big claim to fame is that his band once opened for Snow Patrol — then being a mum through their relationship highs and lows. When she salvages a thrown-out instrument for now-14-year-old Max (Orén Kinlan, Taken Down) but he doesn't want it, she decides to give it a try herself. It's an escape from simply getting by, arguing with Ian, coping with Max's run-ins with the law and young mother-style existential malaise. It could be a path to a new future, too. And, with her teen also into music — but hip hop, rap and EDM, or whatever will impress his crush (feature first-timer Alex Deegan) — it's a way to bring Flora and son closer together. Music is in Hewson's blood given that she's the daughter of Paul Hewson, aka U2's Bono, with the Behind Her Eyes and The Knick star well-cast — and magnetic, and also endlessly charismatic — as the forthright, sweary, just-trying-to-get-by Flora. There's both yearning and energy in her electrifyingly lived-in performance, and in the melodic and soulful tunes that her character pens with teacher Jeff (Joseph Gordon-Levitt, Poker Face) via video chats as they reflect upon their lives, loves, hopes and dreams via songwriting. Flora and Son boasts lovely performances all round, in fact. Kinlan is a dynamic find who deserves many more credits on his resume, Gordon-Levitt charms quietly and softly, and sparks fly when Carney gets the latter in the same space as Hewson through an easy but nice visual touch. The movie's moniker makes plain where its heart belongs, though, as Flora and Max learn not just about themselves but about their complicated bond with each other by making music. As always with this filmmaker's work, the original soundtrack is sublime. Also, the mood feels like a warm but clear-eyed hug. Flora and Son streams via Apple TV+. RUSTIN After Selma, One Night in Miami and Judas and the Black Messiah arrives Rustin, the latest must-see movie about the minutiae of America's 60s-era civil rights movement. All four hail from Black filmmakers. All four tell vital stories. The entire quartet boasts phenomenal performances, too — complete with a Best Supporting Actor statuette for Judas and the Black Messiah's Daniel Kaluuya, plus nominations for his co-star Lakeith Stanfield and One Night in Miami's Leslie Odom Jr (Selma's David Oyelowo was robbed). Colman Domingo, an Emmy-winner for Euphoria and Tony-nominee for The Scottsboro Boys, deserves to join that Academy Awards list for his turn as Rustin's eponymous figure. His performance isn't merely powerful; it's a go-for-broke portrayal from a versatile talent at the top of his game while digging into the every inch of his part. Domingo doesn't only turn in a showcase effort in a career that's long been absent on-screen leading role, either; he's everything that Rustin hangs off of, soars around, and lives and breathes with. Focusing on Bayard Rustin, Ma Rainey's Black Bottom director George C Wolfe's latest feature already had a riveting and important tale to tell, but Domingo proves its stunning beating heart. Rustin's namesake holds a place in history for a wealth of reasons, but here's one: it was at the event that he conceived, organised and gave almost everything he had to ensure took place that Martin Luther King Jr have his "I Have a Dream" speech. That moment at the March on Washington for Jobs and Freedom in August 1963 will never be forgotten. Nor should Rustin's efforts in ensuring there was a protest — a historic demonstration with more than 200,000 attendees, in fact— to begin with against overwhelming pushback. Dr King (Aml Ameen, I May Destroy You) is a supporting player in this film, which explores the behind-the-scenes hustle and bustle from idea until the day, as well as Rustin's fight not just against racism but also homophobia as an openly gay Black man (including the battles he's forced to wage among his fellow crusaders for civil rights). Even while only covering a sliver of his subject's life, Wolfe largely takes the traditional biopic route, working with a script by Julian Breece (When They See Us) and Dustin Lance Black (an Oscar-winner for Milk); however, the potency of the Rustin's deeds and struggles, the importance of everything that he was rallying for and Domingo's electrifying lead performance all make his movie anything but standard. Rustin streams via Netflix. EARTH MAMA Add Savanah Leaf's debut feature to 2023's phenomenal first films from female directors, slotting in alongside Aftersun and Past Lives. Earth Mama mightn't riff on her own story as those two movies do for their filmmakers, but the former Olympic volleyballer and Grammy-nominee for Best Music Video (for Gary Clark Jr's 'This Land') does still draw upon reality to potent and empathetic effect. In 2020, Leaf and actor Taylor Russell (Bones and All) co-directed documentary short The Heart Still Hums, which dedicated its frames to single mothers forced to interact with the child welfare, fostering and adoption systems. In fiction, focusing on one young mum with two kids that she's desperate to reunite with and a third on the way, that's Earth Mama's story as well. Leaf won Best Debut Director at the 2023 British Independent Film for the confident and revelatory end result, which feels as initiate and raw as cinema gets — and, while firmly telling a social-realist tale about the plight of women in its protagonist's situation, balances its bleakness with hope, a sense of community, and astute and insightful doses of magical realism. Tia Nomore also makes a staggering debut herself as Gia, the 24-year-old whose pain at being away from her son Trey (Ca'Ron Jaden Coleman, This Is Us) and daughter Shaynah (Alexis Rivas, another first-timer) seeps from her pores. Getting their family back together isn't simple, though, as the authorities splash their disapproval at everything Gia does: her history wth drugs, which she's in recovery for; her new pregnancy, especially given that she isn't in a stable relationship; and being late to her supervised once-a-week sessions with kids, despite the fact that she's doing her best to meet all of child services' demands while also keeping her job. In some of the movie's visually brightest moments that come tinged with the surreal, Gia works in a mall photo store helping to take happy snaps of beaming couples and their offspring; immortalising their perfect dream is how she makes a living, while constantly chasing her own. There's poetry to Leaf's imagery, anger in her survey of how Black women are treated and defiance in Gia's determination — plus both complexity and compassion everywhere. Earth Mama streams via Google Play, YouTube Movies, iTunes and Prime Video. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. ROBE OF GEMS In the very first moments of her very first feature as a director — after working as an editor on films such as 2012's Post Tenebras Lux and 2014's Jauja — Natalia López demands her audience's attention. She earns it and ensures it as well, and looking away while Robe of Gems unfurls its story is impossible afterwards. To kick things off, a patient and painterly glimpse at the rural Mexican landscape comes into sight, fading up and bringing more and more dusty grey details with it with each second. Then, without the frame moving, a frenetic man is seen bashing and slashing through the plants. Next, it becomes apparent that there's a reflection as part of the image. And, it's also quickly evident that viewers are seeing someone else's vantage as they look on at the landscape. In fact, a couple peers out, in the middle of getting intimate (and immediately before flinging wooden furniture around, strewn pieces flying everywhere). With the 'start as you mean to go on' maxim in mind, it's a helluva opening. López does indeed begin as she goes on, in a film that scored her 2022's Berlinale's Silver Bear Jury Prize. The pivotal villa belongs to Isabel's (Nailea Norvind, Julia vs Julia) family, and offers somewhat of a respite from a marriage that's splintering like that thrown-about furniture, with the clearly well-to-do woman settling in with her children Benja (first-timer Balam Toledo) and Vale (fellow debutant Sherlyn Zavala Diaz). But tension inescapably lingers, given that the onsite caretaker María (newcomer Antonia Olivares) is unsettled by the disappearance of her sister, a plot point that makes a purposeful statement. The police are investigating, the cartel has a local presence, corruption is an ever-present force, and the gap between the wealthy and not-so is glaring. Progressing carefully from that powerhouse opening, Robe of Gems quickly seeps under your skin — and as its first visuals make abundantly clearly, every second is a marvel to look at. Robe of Gems streams via Prime Video and Madman on Demand. CASSANDRO The story of luchador Saúl Armendáriz hits the screen in Cassandro, which takes its title from the American-born Mexican performer's ring name. As writer/director Roger Ross Williams (Life, Animated) works through with help from his charismatic star Gael García Bernal (Werewolf By Night), Armendáriz first came to wrestling in a mask — as an amateur living in El Paso but heading over the border to Juarez to get scrapping — then made a big switch to take on an exótico identity. That's where the openly gay competitor not only found himself, but also earned fame. He takes convincing, however, as this affectionate and thoughtful feature unpacks. Of course he wants to be able to express himself, bounce between the ropes with glamour and joy, carve out an accepting space and have crowds showering him with love. But exóticos have been traditionally positioned to lose. Dressed in drag, they've been used to show up the masculine strengths of their opponents. That homophobic situation isn't one that Armendáriz wants to embrace, but trainer Sabrina (Roberta Colindrez, A League of Their Own) thinks that he could make a difference, subvert the trend, stand out and become a better wrestler. Frequent documentarian Williams, who won an Academy Award for Best Documentary Short for Music by Prudence, knows a great story — and stellar talent. Cassandro has both, including Armendáriz's rise to become the 'Liberace of Lucha Libre', the many ups and downs on that path, his relationship with his mother Yocasta (Perla De La Rosa, Villa, itinerario de una pasión), and Bernal's layered performance in his shoes and spandex. There's both passion and heartbreak in the actor's portrayal — shyness as Saúl and blossoming confidence as Cassandro as well — in another of Bernal's big career highlights. Indeed, he puts in a tour-de-force effort as the film explores Armendáriz's devotion to his mum; his complicated feelings about his absent, disapproving dad (Robert Salas, Family Portrait); his secret liaisons and not-so-clandestine love for married fellow luchador Gerardo (Raúl Castillo, The Inspection); his flirtations with the assistant (Benito Antonio Martínez Ocasio aka Bad Bunny, Bullet Train) to his key promoter (Joaquín Cosio, Narcos: Mexico); and what it means to get a shot in the ring with icon silver-masked El Hijo del Santo (as himself). Cassandro streams via Prime Video. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Strays) and sex worker Yo-Yo (Teyonah Parris, The Marvels) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. NO ONE WILL SAVE YOU Thanks to Justified, Short Term 12, Booksmart, Unbelievable and Dopesick, Kaitlyn Dever has already notched up plenty of acting highlights; however, No One Will Save You proves one of her best projects yet while only getting the actor to speak just a single line. Instead of using dialogue, this alien invasion flick tells its story without words — and also finds its emotion in Dever's expressive face and physicality. Her character: Mill River resident Brynn Adams, who has no one to talk to long before extra-terrestrials arrive. The local outcast due to a tragic incident from her past, and now living alone in her childhood home following her mother's death, Brynn fills her time by sewing clothes, making models of her unwelcoming small town like she's in Moon and penning letters to her best friend Maude. Then she's woken in the night by an intruder who isn't human, flits between fighting back and fleeing, and is forced into a battle for survival — striving to save her alienated existence in her cosy but lonely abode from grey-hued, long-limbed, telekinetic otherworldly interlopers with a penchant for mind control. With Spontaneous writer/director Brian Duffield's script matched by exacting A Quite Place-level sound design and The Witcher composer Joseph Trapanese's score, this close encounter of the unspoken kind is a visual feat, bouncing, bounding and dancing around Brynn's house and the Mill River community as aliens linger. Every single frame conveys a wealth of detail, as it needs to without chatter to fill in the gaps. Every look on Dever's face does the same, and every glance as well; this is a performance so fine-tuned that this would be a completely different film without her. Bringing the iconic 'Hush' episode of Buffy the Vampire Slayer to mind, No One Will Save you is smartly plotted, including in explaining why it sashays in silence. Just as crucially — and this time recalling everyone's favourite home-invasion film, aka Home Alone — it's fluidly and evocatively choreographed. There's also a touch of Nope in its depiction of eerie threats from space, plus a veer into Invasion of the Body Snatchers, all without ever feeling like No One Will Save is bluntly cribbing from elsewhere. The result: a new sci-fi/horror standout. No One Will Save You streams via Disney+. RYE LANE When Dom (David Jonsson, Industry) and Yas (Vivian Oparah, Then You Run) are asked how they met, they tell a tale about a karaoke performance getting an entire bar cheering. Gia (Karene Peter, Emmerdale Farm), Dom's ex, is both shocked and envious, even though she cheated on him with his primary-school best friend Eric (Benjamin Sarpong-Broni, The Secret). It's the kind of story a movie couple would love to spin — the type that tends to only happen in the movies, too. But even for Rye Lane's fictional characters, it's a piece of pure imagination. Instead, the pair meet in South London, in the toilet at an art show. He's crying in a stall, they chat awkwardly through the gender-neutral space's wall, then get introduced properly outside. It's clumsy, but they keep the conversation going even when they leave the exhibition, then find themselves doing the good ol' fashioned rom-com walk and talk, then slide in for that dinner rendezvous with the flabbergasted Gia. It's easy to think of on-screen romances gone by during British filmmaker Raine Allen-Miller's feature debut — working with a script from Bloods duo Nathan Bryon and Tom Melia — which this charming Sundance-premiering flick overtly wants viewers to. There's a helluva sight gag about Love Actually, as well as a cameo to match, and the whole meandering-and-nattering setup helped make Before Sunrise, Before Sunset and Before Midnight an iconic trilogy. That said, as Rye Lane spends time with shy accountant Dom, who has barely left his parents' house since the breakup, and the outgoing costume designer Yas, who has her own recent relationship troubles casting a shadow, it isn't propelled by nods and winks. Rather, it's smart and savvy in a Starstruck way about paying tribute to what's come before while wandering down its own path. The lead casting is dynamic, with Jonsson and Oparah making a duo that audiences could spend hours with, and Allen-Miller's eye as a director is playful, lively, loving and probing. Rom-coms are always about watching people fall for each other, but this one plunges viewers into its swooning couple's mindset with every visual and sensory touch it can. Rye Lane streams via Disney+. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. Looking for more viewing highlights? We also rounded up the 15 top films of 2023, and another 15 exceptional flicks that hardly anyone saw in cinemas this year — plus the 15 best new TV series of 2023, another 15 excellent new TV shows of 2023 that you might've missed and the 15 best returning shows as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
Rick Stein at Bannisters may take a lot of the glory when it comes to dining options at Bannisters Port Stephens, but new addition Cheeky Dog deserves some attention, too. The casual bar and eatery was unveiled in December 2019. Designed by architect Tony Freeman and design company MCM House, Cheeky Dog leans into its coastal location with a palette of natural timbers, rattan, recycled materials and soft furnishings and, thanks to its open-plan design, it has plenty of natural light and an exposed ceiling. The venue has bar snacks, like chicken wings and salt and pepper squid, available from 2pm and dinner service starts as early as 3.30pm. The menu is succinct — a selection of antipasto, a handful of classic pub-style mains and stonebaked pizzas — but it's all done well. Plus, if you and your partner have a third wheel in the form of your pet in tow, you'll be pleased to know that the bar is dog-friendly (as is the hotel itself, should you wish to stay there). Images: Shan Rose
Sydney's ever-luxurious and all-inclusive floating villa, Lilypad, has finally reopened almost two years after a fire destroyed the original build. Situated in the tranquil waters of Palm Beach in the Northern Beaches, the second iteration of Lilypad boasts plenty of additional lavish features including an onboard sauna, cosy fireplace and dreamy Mediterranean-inspired terracotta accents. After facing flooding, wild weather and COVID-induced delays, it's safe to say that Lilypad II was worth the wait. "You couldn't have picked a harder time to undertake something like this, both the weather we had in Sydney for the build period and COVID — because workforces were getting wiped out left, right and centre. Everything was hard," Founder and Owner Chuck Anderson says. Not just a pretty face, the resort-style villa runs completely off solar power energy and has been engineered to remain stable, while still embracing the natural movements and rhythms of the ocean below. An outdoor, roman-tiled shower, linen bedding by Cultiver and furniture by McMullin & Co completes the tonal, overwater escape. "What's incredible now as technology has advanced in solar and battery technology, you're not compromising on luxuries. Once upon a time, maybe ten years ago, if you were to try to attack what we've created you would have had to make some concessions in terms of what's onboard," Anderson says. Bookings include a private concierge, private tender transfers, a self-drive luxury personal vessel for exploring the surrounds, paddleboards, floating daybeds, chef-prepared meals and full access to the onboard wine cellar. But the luxuries don't come cheap, with prices starting at $1,950 per night in low season. The designer floating villa can also host events for up to 18, if you're looking for a unique space for your next special function. On the creation of both Lilypads, Anderson explains, "The intention for both Lilypad and Lilypad II was to combine innovative design with traditional craftsmanship and modern luxuries to build a unique and exceptional space. I wanted to pay homage to the unspoiled environment in which Lilypad resides and allow guests to feel totally immersed in this awe-inspiring space." Anderson also hinted at other Lilypads popping up around Australia in the future, so if you're looking for an elevated holiday in your backyard, keep an eye on this space. One-night stays are available until September, excluding weekends. Two-night stays are available from September to April and across weekends. You can book via the Lilypad website.
Early in Phoenix, Nelly (Nina Hoss) wakes up after facial reconstruction surgery and follows another bandaged woman into an office. There, she spots a noticeboard featuring a few photos from her past — and discovers that she's not only trailing someone in a hallway, but confronting the ghost of her former self. Yes, the film tells a tale of duality and doppelgangers, but it's not quite what that description might lead you to expect. Set amidst the rubble of post-war Berlin, it is haunted by the difficulties of moving forward when the past remains ever-present. Of course, getting a makeover, righting previous wrongs, seeking revenge and starting life anew are all familiar film tropes. Luckily, there's little that's routine or commonplace about the way writer-director Christian Petzold and his frequent co-scribe Harun Farocki bring Hubert Monteilhet's 1961 detective novel The Return from the Ashes to the screen. Their effort is part atmospheric drama, part slow-burning thriller. Phoenix is composed and compelling, rather than pulpy or clichéd. In other hands, it might've been exaggerated and cheesy; here, it's understated and moving. WWII is over and cabaret singer Nelly has survived not just a German concentration camp but a bullet to the head, though her nearest and dearest — including her husband Johnny (Ronald Zehrfeld), who might've sold her out to the Nazis — think otherwise. Despite her friend Lene (Nina Kunzendorf) urging her to escape her troubles and move to Palestine, Nina is determined to return home. Alas, when husband and wife cross paths at the nightclub that gives the film its name, Johnny doesn't recognise her; instead, he thinks she merely resembles Nelly, and asks for her assistance in obtaining his wife's hefty inheritance. Forget Martin Scorsese and Leonardo DiCaprio, Tim Burton and Johnny Depp, and Wes Anderson and Bill Murray: Petzold and Hoss are this generation's quintessential director-star duo. Here they reteam for their sixth film together and once again make movie magic, conjuring up strong reminders of Alfred Hitchcock's Vertigo in the process. His choices — the smoke and shadows that linger around Nelly, the repeated sounds of the song 'Speak Low', the gradual build to a quietly powerful ending — are masterful. Her performance — conveying so much conflict with little more than a look or a gesture — is equally as commanding. Indeed, taking your eyes off of Hoss proves close to impossible, though Phoenix is a polished affair all round. Zehrfeld, who also co-starred in Petzold and Hoss' last pairing, Barbara, is equally hypnotic in a far less sympathetic but just as complicated role. Together, they help convey two sides of a nation struggling with its identity in the aftermath of a great tragedy — a recurrent topic for Petzold. That's not a cause for concern; his characters might be toying with the past, but his layered, lingering film does much, much more than just recreate his former glories.
Right now, we all fall into two categories. Firstly, there's the hefty group of people who are already devoted to The Last of Us, the hit video game that's been a button-mashing favourite since 2013 and spawned a sequel in 2020. Then, there's the folks that are about to start obsessing over its new HBO adaptation when it arrives in 2023. Whichever camp you fall into, the just-dropped first teaser trailer for the streaming series sets a moody, creepy, action-packed scene — as expected of a game-to-TV show that dives into a tense and fraught post-apocalyptic version of the US. For The Last of Us newcomers, here's the premise: 20 years after modern civilisation has been destroyed, survivor Joel is hired to smuggle 14-year-old Ellie out of a tough and oppressive quarantine zone. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey, as well as a nightmarish quest for survival. So far, so intriguing — and while the debut sneak peek does indeed conjure up memories of The Walking Dead, that just comes with the basic concept. The Naughty Dog-created PlayStation game wouldn't be the huge hit it's proven for almost a decade now if it simply cribbed from that TV show, obviously. As a series, The Last of Us also boasts a heap of impressive names — starting with star Pedro Pascal (The Unbearable Weight of Massive Talent) as Joel, plus Game of Thrones' alum Bella Ramsey as Ellie. Fans of the game will note that Ashley Johnson (Blindspot) and Troy Baker (Young Justice), who voiced the two characters in the source material, will indeed pop up in the HBO show. They'll clearly be playing different characters, however. Also pivotal to HBO's adaptation: co-creator, executive producer, writer and director Craig Mazin, who already brought a dystopian hellscape to the US network (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Alongside Pascal and Ramsey — and Johnson and Baker — the series also boasts Gabriel Luna (Terminator: Dark Fate) as Joel's younger brother and former soldier Tommy, Merle Dandridge (The Flight Attendant) as resistance leader Marlene and Aussie actor Anna Torv (Mindhunter) as smuggler Tess. And, Nico Parker (The Third Day) plays Joel's 14-year old daughter Sarah, Murray Bartlett (The White Lotus) and Nick Offerman (The Resort) feature as isolated survivalists Frank and Bill, Storm Reid (Euphoria) pops up as Boston orphan Riley, and Jeffrey Pierce (Castle Rock) plays quarantine-zone rebel Perry. As seen in the trailer, Yellowjackets' Melanie Lynskey also guest stars. The Last of Us doesn't have an exact 2023 premiere date yet — it'll be available in Australia via Binge and in New Zealand via Neon when it does — but you can check out the trailer below: The Last of Us will hit streaming in 2023, including in Australia via Binge and New Zealand via Neon— we'll update you with an exact release date when one is announced.
Sit down to dinner at Arthur and you'll have some idea of how chef-owner Tristan Rosier best remembers his grandfather. The original Arthur, with his love of getting friends and family together over food, was the main inspiration behind Rosier's 35-seat restaurant, which is he launched with partner Rebecca Fanning. It opened its doors in the old Bar Baretto space on Bourke Street in October. The space has been given new life with modern light fittings, brass and timber tables and more windows that make the dining room glow in the afternoon. It marks the first solo venture for the chef (ex-Farmhouse and Dead Ringer), whose focus here is on using interesting, seasonal ingredients in unexpected ways, through dishes as elegant as they are exciting. As much as possible is done in-house from scratch, from the breads and preserves, to a raft of pickled things. Food at Arthur is enjoyed as part of a $70 a head shared "dinner party"-style feast of around 11 set dishes — a move Rosier says is designed to allow punters space to really enjoy that good eating and company, rather than worrying about the whole decision-making and ordering affair. Dinners are done in sessions — two a night, plus a lunch session on weekends — and the menu will be an oft-changing one, though there'll always be at least one raw dish making an appearance and two desserts sweetening the finish. The starting lineup includes dishes like mozzarella with broad beans and green tomatoes, fried artichokes, King prawns with romesco and hazelnut and beef short rib served with mash. And for dessert: a chocolate delice with mandarin and macadamia. Even though it's a set menu, vegetarian, vegan and other dietary requests can be catered for with notice. The wine offering is entirely Australian, showcasing "easy-to-drink wines" with brightness, balance and crunch.
What's better than a new must-visit gallery filled with eye-catching art? A brand-new place to scope out the best and brightest in creative works that doubles as quite the spectacular site itself. That's what's set to join Melbourne's arts scene thanks to NGV Contemporary, the upcoming latest addition to the city — and exactly what it'll look like has just been revealed. NGV Contemporary itself should sound familiar, because it's been in the works for a while now. Indeed, it has been almost four years since Melbourne's — and Australia's — next big art gallery was first announced, and also three years since it was revealed that it'll also come with a huge public garden. And, it's been nearly two years, too, since the Victorian Government committed a hefty chunk of funding to both projects, and to the revamp of the Melbourne Arts Precinct in general. Now, a multidisciplinary team led by Australian architect Angelo Candalepas and Associates has been unveiled as the folks behind NGV Contemporary's final design, as revealed by the Victorian Government and the National Gallery of Victoria. Sprawling across 30,000 square metres, aiming to add a new landmark to Melbourne, and featuring a rooftop terrace and sculpture garden with views out over the city, it's certain to stand out when it opens — and to attract both locals and tourists. In fact, the winning design has been fashioned with celebrating the role of art and design in everyday life firmly in mind; think arched entryways, a spherical hall that reaches more than 40 metres in height, and over 13,000 square metres of display space. Walking into the NGV Contemporary will feel like making quite the entrance as a result. That arresting-looking hall, dubbed 'omphalos' (the Ancient Greek word for the centre of the earth), will spiral upwards through all levels on the building, too. So, visitors will then be able to walk around it to scope out art — like New York's Guggenheim Museum — and get up to the rooftop. Outside on that sky-high terrace, in addition to perusing the sculpture garden, you'll be scoping out vistas over the CBD, parklands and the Yarra Ranges — views never seen by the general public before. Also among the highlights: a large cafe that'll connect to an expanded public parkland, a multi-level veranda on the building's eastern side, a new NGV design store, a restaurant and member's lounge, and educational spaces, studios and laboratories focused on conserving artwork. And, of course, there'll be large and flexible exhibition spaces that'll allow the NGV to host international blockbuster exhibitions — although with Chanel and Picasso showcases at NGV International in 2022, it hasn't been doing too badly in that department. And, the new gallery spaces will also enable the NGV to present programs drawing upon its permanent collection of Australian and international contemporary art and design as well. Outdoors, pathways will connect the building and its surrounding parklands to Southbank — making the most of its triangular-shaped site, and making sure both it and Melbourne Arts Precinct around it are highly accessible. So, Southbank Boulevard and specifically the corner of Kavanagh Street are about to look a whole lot different. NGV Contemporary will be part of the NGV, which includes NGV International on St Kilda Road and NGV Australia at Federation Square, but it'll also be a standalone gallery. As for the site it's calling home, that's the old Carlton & United Breweries building. Back in a previous announcement, the Victorian Government said that it'll be the equivalent in size to the MCG — but focused on outdoor performances and public art, and featuring cafes and restaurants, rather than being dedicated to sports. Exactly when Melburnians and travellers alike will be able to walk in the doors hasn't yet been finalised, so don't go making plans just yet. Still, when it does open, NGV Contemporary looks set to be a must-see — regardless of which pieces of art grace its walls and halls. For more information about NGV Contemporary, keep an eye on the NGV website. Images: Renders of winning concept design for NGV Contemporary by Angelo Candalepas and Associates, by Darcstudio and Secchi Smith.
Step aside negronis and espresso martinis, the whisky highball is fast becoming the go-to drink for anyone who wants their cocktail crisp, refreshing and full of character. And we've got Japan (and Suntory) to thank for it. With over 125 years of drinks innovation, Suntory has shaped Japan's drinking culture in a way few others have. From founding the country's first whisky distillery to refining the art of balance and precision in every pour, the brand has always been about setting the benchmark. One of its greatest hits? Toki Whisky. A modern 100% authentic Japanese blend that's easily mixed (especially in a whisky highball). The Origins of the Highball While the whisky highball first bubbled up in the UK as a way to lighten strong spirits, Japan made it a staple. Back in 1923, Shinjiro Torii founded the Yamazaki Distillery with a dream to create a truly Japanese whisky. It was a bold move that kicked off a whisky revolution and eventually led to the rise of the Japanese-style highball. Suntory's Kakubin whisky (meaning 'square bottle') debuted in 1937 and quickly became a staple in izakayas across the country, thanks in large part to its starring role in the highball. In the 1950s, Suntory opened a chain of bars in major cities called 'Torys Bars', which specialised in highballs. Workers would clock off, crowd in and knock back highballs with grilled skewers and salty snacks. Light, dry and approachable, the highball offered a clean canvas that brought out the subtle complexity of Japanese whisky. Toki Whisky, Suntory's smooth, well-balanced and incredibly drinkable take on a traditional blend, is tailor-made for highballs. Meaning 'time' in Japanese, Toki is a mix of malt and grain whiskies from Yamazaki, Hakushu and Chita distilleries by Fifth Generation Chief Blender, Shinji Fukuyo. With notes of green apple, basil and honey, it's light enough for daytime sipping and complex enough to hold its own with food. So, What Exactly is a Highball? A classic highball keeps things clean and simple. Japanese whisky, cold soda water, ice and a peel of citrus to garnish. But don't be fooled by the short ingredient list, the highball is all about precision. With one part whisky to three parts soda, it's meant to highlight the whisky, not drown it. The bubbles should be fine, the citrus subtle, and the ice big enough not to melt too fast. It's basically the minimalist's dream drink. The Signature Toki Highball 45ml Suntory Toki Blended Japanese Whisky 3 parts premium soda water Grapefruit slice or lemon peel Method: To make a classic Toki Highball, start by chilling a glass with ice. Pour in one part chilled whisky, give it a quick stir, then top with chilled soda water. Stir once (gently, from the bottom up) to keep the bubbles intact and garnish with a twist of grapefruit or lemon peel. Or, you can skip the ice altogether and let the whisky's flavour come through. A Drink That Plays Well With Others The real beauty of the highball? It's customisable. You can swap lemon for yuzu or grapefruit, add a touch of ginger, or even infuse your soda with herbs. Take it a step further by pairing it with food. The highball's crisp profile makes it a natural match for salty, fried or umami-rich dishes, like karaage chicken, grilled yakitori or even a cheeky bowl of hot chips. Where To Try a Suntory Toki Whisky Highball In April and May, venues across Sydney and Melbourne are rolling out limited-edition menus where you can sip a perfectly poured Suntory Toki Whisky Highball with an expertly paired snack. Sydney locations: Bancho, Ito, Tokyo Bird, Ora, Moku, Ennui, Genzo, Tanuki, Prefecture 48: Ibushi and Whisky Thief. Melbourne locations: Waxflower, Lucy Liu, Yakimono, Bar Bellamy, Izakaya by Tamura, Kura, Tokyo Tina, Gogyo or Bincho Boss. Every venue is giving the highball their own spin, so you can taste a few versions and pick your favourite. Visit your local venue this April and May to experience a Suntory Toki Whisky Highball and snack pairing. More details at the Suntory Time hub, Sydney here and Melbourne here.
In the coming years, the Gold Coast is set to welcome a new man-made surf wave pool, as well as a hotel and resort at Dreamworld. Later in 2021, it'll also boast a cabana-filled oceanside precinct on a rooftop. But before all of that comes to fruition, the popular southeast Queensland tourist destination is set to score another new attraction — with its new $60.5 million, six-level art gallery opening its doors on Saturday, May 8. First announced back in 2018, and given a launch date earlier this year, the new addition is part of HOTA, Home of the Arts in Surfers Paradise. Simply called the HOTA Gallery, it has been built at the top of the site's concert lawn, overlooking HOTA's outdoor stage. It's now the country's largest art gallery outside of a capital city and, obviously, it's giving art lovers both locally and Australia-wide plenty to get excited about. Designed by Melbourne-based architects ARM, the multi-floor gallery spans more than 2000 square metres of exhibition space. That includes a main area for touring exhibitions, a permanent collection space across three levels and a children's gallery. There's also an area for storing works that aren't on display, which is pivotal given that the site houses the Gold Coast's $32 million, 4400-piece City Collection. [caption id="attachment_811097" align="aligncenter" width="1920"] Back wall: Nicola Moss Local Air 2021; Kirsty Bruce Wonderwall 2021; Aaron Chapman The Towers Project 2021; Back right: Michael Candy, Steal the Sunshine 2021; Front: Ali Bezer I Can Hear Water 2021; SOLID GOLD: Artists from Paradise, HOTA Gallery. Photo by Paul Harris Photography.[/caption] View-wise, there's much to look at already if you're keen on gazing at creative pieces. Running until July 4, Solid Gold: Artists from Paradise, showcases new works by Gold Coast artists, while Lyrical Landscapes: The Art of William Robinson pays tribute to one of Australia's greatest landscape painters until October 3. There's also Contemporary Masters from New York: Art from the Mugrabi Collection, which makes its world premiere until February 27 – and features 70 works from the likes of Andy Warhol, Jean-Michel Basquiat, Keith Haring, Richard Prince and Jeff Koons. In the children's gallery, World Upside Down runs until October 10, and is designed to be interactive for audiences of all ages. Visitors can also peer at more than just the art gracing the walls. The building's windows offer a stellar view of Surfers Paradise — and, outside, sculptural installations await. Queensland Waanyi artist Judy Watson's addition to the site heroes Indigenous native plants, and includes a pathway that forms a topographical map of Nerang prior to European settlement. It also spans Piccabeen basket and dilly bag sculptures designed with Quandamooka artists Libby Harward and Elisa Jane Carmichael, and features a two-metre-tall feather canopy and snippets of local language sandblasted onto the bleachers. And Sri-Lankan born, Sydney based artist Ramesh Mario Nithiyendran has crafted a six-metre-high, double-sided sculpture made out of bronze, concrete, neon and fibreglass that's designed to reflect the vibrancy of the new building. [caption id="attachment_811082" align="aligncenter" width="1920"] Brett Boardman[/caption] Back inside the building, a rooftop bar and restaurant is also opening its doors. Called The Exhibitionist Bar, it takes over 233 square metres, and pairs panoramic views with tapas, share plates, cocktails, wine, beer and house-made sodas. Both indoor and outdoor terrace seating are a feature, and you'll get a vantage that sprawls over the Goldie's waterways, Surfers' Paradise skyline and the hinterland. Plus, in terms of decor, the venue takes its cues from rainforests — as does the immensely colourful building itself, which is inspired by William Robinson's 'The Rainforest'. HOTA Gallery and The Exhibitionist Bar will both open at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise on Saturday, May 8. For more information, visit the HOTA website. Top images: Brett Boardman
Take a wander through The Rocks this weekend and you're likely to stumble across a doorway into the Middle East. Tucked away inside a 19th century sandstone building, new restaurant Tayim serves flavoursome dishes inspired by Middle Eastern traditions — but with some modern touches. Tayim has moved into the premises that previously belonged to Scarlett Restaurant, on the ground floor of the Harbour Rocks Hotel. But Sydney architects Welsh + Major (The Mercantile Hotel, Fenwick Stone Building) have given the space a sleek revamp. Among the painstakingly restored sandstone, you'll notice splashes and wood, set off by striking wall coverings. Choose between two dining rooms — one comes with a friendly communal table, an outdoor terrace and a swish bar. Head Chef Ran Kimelfeld (ex-Nour) is behind the all-day menu. His not-so-secret weapon is an open grill (which you can watch in action in the communal dining room), where he cooks with old-school techniques, but adds ideas of his own. If you're with mates, tuck into share plates, loaded with grilled sardine shakshuka, summer mushroom borekas and grilled chicken masaha. Come dessert, options include roasted figs with radicchio, goat's cheese and chardonnay dressing, and semolina rose pudding with pistachio meringue and summer berries. Responsible for the drinks list is GM Reuvin Lim, who's also worked on beverages at Sake, Cho Cho San and Tequila Mockingbird. His picks for Tayim feature wines that match bold, spicy flavours, with drops from Australia, Turkey, France, Italy and beyond. The seasonal cocktail menu offers creative twists on classics. If you don't have time for a sit-down feast, swing by the Tayim Deli, which you'll find next door. Here, you can grab Middle Eastern street food to take away, including falafel, chicken shish and lamb kofta wraps, plus salads and sides, from Israeli couscous to roasted cauliflower. Find Tayim at 34 Harrington Street, The Rocks from Friday, December 14. The restaurant will be open from 6.30am–1pm Monday to Friday and 7am–11pm on weekends, and the deli will be open 7am–3pm Monday to Friday and 9am–4.30pmon weekends. Images: Guy Davies.
Deciding how to spend what is potentially your first big international trip in years is a big call. If you're seeking the buzz of a big city but don't want to forgo outdoor adventures, we have an unexpected suggestion for you: New York State. Yep, The City That Never Sleeps delivers all the metropolitan hype you're craving while also being within reach of countless intrepid adventures. Extend your stay in the state and dedicate some time to experiencing all the incredible scenery and activities the blissful upstate region has to offer — it'll add another memorable dimension to your trip. Here, we've teamed up with New York State to present a selection of epic outdoor adventures that'll level up your next holiday itinerary. [caption id="attachment_851067" align="alignnone" width="1920"] Mike Groll[/caption] PADDLE DOWN THE HUDSON WHILE HEARING LOCAL LEGENDS Along the Hudson River's eastern shoreline, the charming village of Sleepy Hollow is well worth a visit to check out the eclectic mix of historical buildings, multicultural food spots and recreational activities. It also happens to be one of New York's best spots for kayaking. Kayak Hudson ensures visitors of all experience levels can enjoy the scenery with an expert guide on its two-hour tour. You'll launch from a tiny beach at Horan's Landing, then paddle down the river past the 19th-century Tarrytown Lighthouse. Plus, if you're a fan of ghost stories, you'll love hearing all about The Legend of Sleepy Hollow, a spooky tale that gives the community its haunted reputation. [caption id="attachment_844987" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] TREK THROUGH DIVERSE FOREST TERRAIN The city streets offer plenty of excitement, but you don't have to travel far to find mind-blowing hiking destinations in New York. A two-hour drive from NYC, the Catskill Mountains is another hugely popular mountain range. Across a diverse network of hiking trails, populated with waterfalls, river crossings and woodland terrain, this outdoor wonderland is an undeniably rewarding area to discover. The average wayfarer won't have a problem completing the Kaaterskill Falls hike. Likewise, the Overlook Mountain summit, which you'll reach via a steady incline will reward you with sweeping views of Hudson Valley, plus old hotel ruins and a fire tower. Or, a little further afield, discover the state's highest peaks in the colossal Adirondacks — Ampersand Mountain reaches 1022 metres and you can reach the summit via a sprawling trailhead lined with wildflowers and panoramic views. [caption id="attachment_844999" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] TAKE A TOPSY-TURVY RIDE DOWN A RIVER There are many experiences that spring to mind when thinking of New York. Theatre shows. Basketball games. Eating your weight in pizza and hot dogs. But whitewater rafting? Probably not. Well, throw it on your bucket list because the state actually has a selection of places to ride the rapids. The Black River Gorge plunges visitors into a narrow ravine loaded with bumpy ledges and boulders — you'll paddle through 14 major rapids on a 3.5-hour Adirondacks River Outfitters Adventures tour. Elsewhere in the Adirondacks, Ausable Chasm is also recognised as a top-notch rafting location, with this floating tour providing a relatively calm water-going experience. Departing from Table Rock, you'll navigate through the Grand Flume canyon to soak up the striking rock formations before arriving at the Whirlpool Basin's choppy rapids. [caption id="attachment_847389" align="alignnone" width="1920"] Courtesy of Maid of the Mist[/caption] GET UP CLOSE TO NORTH AMERICA'S MOST LEGENDARY WATERFALLS Maid of the Mist has operated in the shadow of Niagara Falls since 1846, attracting nature-lovers looking to get an up-close glimpse of the three waterfalls that encompass this famous landmark. Its tours of the Falls started out in rickety rowboats 150 years ago, but you'll be glad to hear that Maid of the Mist's fleet has undergone a significant upgrade — it began tours on 90-foot zero-emission electric vessels in 2020. Prepare to be awe-struck as you make for the base of the American side of the Falls standing atop the double-decker boat in your souvenir poncho, which will (somewhat) protect you from the near 600,000 gallons of water rushing over the falls per second. You'll also be taken to check out the largest of the bunch – Horseshoe Falls – to encounter dramatic whitewater pools and towering rock formations. [caption id="attachment_845287" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] ZOOM THROUGH THE AIR AT DIZZYING HEIGHTS Step out of your comfort zone with the New York Zipline Adventure Tour. Set against the backdrop of the Catskills at Hunter Mountain, this canopy experience is the highest, fastest and longest in North America, ensuring you get a once-in-a-lifetime perspective on the surrounding mountain peaks. There are two adventures to choose from: the Skyrider Tour and the Mid-Mountain Tour. The former is the top choice, as you'll hook into five separate zip lines that stretch for over seven kilometres. As you whip along at breakneck speeds, the peak distance from the ground of 180 metres is bound to make your head spin. [caption id="attachment_844982" align="alignnone" width="1920"] Larry Tetamore[/caption] GET A BIRD'S-EYE VIEW OVER AN EXPANSIVE STATE PARK You won't find many places better for hot air ballooning than Letchworth State Park, a sprawling green expanse nicknamed 'The Grand Canyon of the East'. The landscape definitely lives up to this moniker, with dense woodlands, waterfalls and gorges, ensuring your gentle float through the air comes with a spectacular view. On a tour with Balloons Over Letchworth, you'll lift off from Middle Falls to rise high above the countryside before gliding so low you can almost touch the rivers. Tours run daily from May to October, depending on the weather, but an autumn visit guarantees you'll catch colourful changes sweeping across the hinterland. [caption id="attachment_846386" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] FLEX YOUR SKIING SKILLS AT THIS MASSIVE WINTER RESORT You don't need to trek across the country to find a celebrated ski destination — this one is just 2.5 hours from NYC. The Catamount Mountain Resort provides an excellent experience for alpine enthusiasts, particularly after a major 2018 upgrade brought new lifts and snowmaking machines to support the diverse runs (the longest of which is 2.8 kilometres) and a snow tubing park. Yet winter isn't the only time to visit, with the mountain resort remaining incredibly active throughout the warmer months. Home to the longest continuous zipline in the United States at almost 1700 metres, as well as a thrilling aerial adventure park, Catamount is the perfect spot to immerse yourself in New York's midsummer beauty. [caption id="attachment_851070" align="alignnone" width="1920"] NYSDED[/caption] DIVE SEVERAL SHIPWRECKS BENEATH ST LAWRENCE RIVER Forming part of the international border between the United States and Canada, the St Lawrence River has been a major shipping corridor for hundreds of years. Unfortunately for the vessels and some of their crew, this treacherous stretch of the Thousand Islands-Seaway region has claimed many a freighter and schooner. Today, the river is one of North America's top shipwreck diving locations for beginners and experts alike, with dozens of vessels to explore. Several local dive companies organise gear and guided underwater adventures to the most popular, including the Islander and the SS Keystorm. [caption id="attachment_846387" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] BE A BIG KID FOR THE DAY AT THIS NATURE-FOCUSED INTERACTIVE PARK Over the last 25 years, The Wild Center has become one of New York's premier attractions for outdoor encounters. Situated in Tupper Lake, on the edge of the Adirondacks, this sprawling 115-acre property's nature walks, museums and kid-friendly play areas help bring people closer to the natural world. The Wild Walk is the park's most popular activity, featuring a series of elevated bridges and tree houses leading visitors through the forest canopy. Meanwhile, a viewpoint replicating a massive bald eagle's nest provides a stellar spot to take in the landscape. Alongside a vast network of hiking trails and ponds, there's also fascinating public art and wildlife encounters. To start planning your trip to New York State, head to iloveny.com. Also, be sure to check out our recommendations for the best food and drink stops, cultural experiences, places to stay and day trips from NYC. Top image: NYSDED, Darren McGee
Renowned chef David Chang is branching out into the world of home cooking. The founder of the Momofuku restaurant group has just announced that the company will be bottling and selling a spicy Korean chilli sauce, one that he claims goes with everything from pizza to pork buns to kale. Ssam Sauce is red in colour, and is presumably similar to traditional Korean gochujang, made from chilli, rice, fermented soybeans and salt. Momofuku is yet to announce exactly when the product goes on sale — or if it will be available in Australia — but Chang himself has taken to Instagram with the bold claim that the sauce "improves pizza, French fries, rice, ramen, juicy rucy's, chicken & dumplings, spicy fried chicken sandwiches, chicken fingers, chicken nuggets, chicken rings, hamburgers, kale, quinoa, beet salads and pork buns." The chef went so far as to say that Ssam sauce "even makes sriracha better." Huy Fong Foods, producers of America's leading sriracha sauce, have yet to respond to the jibe — although we're still holding out hope for a social media flame war the likes of which the condiment world has never seen before. This of course marks the second major sauce-based news story of recent weeks, following McDonald's announcement that they will be selling bottles of their Big Mac Special Sauce for the first time ever, exclusively here in Australia. One 'limited edition' bottle just sold on eBay from $20,600 — hopefully Momofuku's product will be a little bit more reasonably priced. Chang opened his first restaurant, Momofuku Noodle Bar, in New York City back in 2004. Since then it's inspired more than a dozen off-shoots, including the dual Michelin star recipient Momofuku Ko, as well as Momofuku Seiobo in Sydney. Via Grub Street.
