It's one of the disappointments of opera in Sydney that once there, you can no longer see the Sydney Opera House. That all changes for one month of the year, when Handa Opera on the Harbour sets up at Mrs Macquarie's Point for a floating outdoor opera with an eye-popping view of Sydney's natural and artificial bounties, including the Opera House and Harbour Bridge beyond. The program of three operas — first La Traviata, then Carmen and now Madama Butterfly — has proved monumentally successful. At a time when opera is struggling to attract audiences, Opera on the Harbour not only sells tickets but lures in thousands of opera newbies. You don't need to understand opera to understand what makes the occasion great. Each of the three shows have been excellent, but Madama Butterfly is the best yet. Modern Spanish opera interpreters La Fura del Baus have put their own spin on things, not necessarily striving to be bigger and better than what's gone before but simply striving to be different. The set is in many ways more subtle. The 'spectacle' here is in metres of billowing red silk, in city lights shining through a mini forest of real bamboo and in glowing inflatable orbs — the sun and moon — orbiting the water stage. It's beautiful, inventive and stylish, and it complements the surroundings more than ever before. The spectacle is also in the act of construction; in the extended interval, you can either leave your seat for a glass of sparkling and Japanese snacks on the waterside promenade, or you can stay where you are and watch as an entire house is built on the green by cranes for act two. So: ambitious. Madama Butterfly is, as seems to be the way in opera, a story of tragic love where the woman has to die at the end. It's a relatively simple and short three acts. The relationship between Japanese teenager Madama Butterfly, or Ciocio-san (Hiromi Omura), and her American sweetheart, BF Pinkerton (Georgy Vasiliev), is one defined by colonialism and exploitation (here, it's modernised quite gracefully and recalls a mail-order bride-esque scenario). For Pinkerton, Butterfly is an exotic diversion but not a 'forever' wife. For Butterfly, Pinkerton is her idol, and she waits three faithful years for his return to Nagasaki, even when it's obvious to everyone else that he's abandoned her. He doesn't know that he has a son; she doesn't know that he has a new wife. She is so patriotic for her new country she wears Daisy Dukes and an American flag singlet. Tragic indeed. Although the orchestra is locked away beneath the stage, there is still ample room to appreciate the music of Puccini's Madama Butterfly. Though it doesn't contain the familiar 'hits' of something like Carmen, it's an interesting and character-filled score inflected by Japanese folk melodies, and it is sung with great feeling and resonance by the leads. Opera on the Harbour is not a cheap night out, but at least you can be assured that even the 'cheap seats' (C reserve is $99, D reserve $79) afford a good, unobstructed view. The event has so far only guaranteed funding for these first three years. Odds are, it'll find more, but if it doesn't, you'll be extra-kicking yourself that you missed out this time. Image by James Morgan. https://youtube.com/watch?v=xqVhf90t_5g
UPDATE, September 19, 2020: RBG is available to stream via DocPlay, Google Play, YouTube Movies and iTunes. It's hard to pick just which moment is more endearing: seeing US Supreme Court Justice Ruth Bader Ginsburg lifting weights in the gym wearing a 'super diva!' jumper, or seeing women six decades her junior plaster her glasses-rimmed face across their t-shirts, bags and even skin. Actually, RBG is filled with scenes that top both. Whenever the octogenarian is spied doing what she does best — fighting for women's rights and progressive ideals, first as a lawyer and then as a judge — this documentary lights up. Still, if there's anything that beats just simply witnessing Ginsburg in action, it's watching as she howls with laughter after seeing Kate McKinnon's Saturday Night Live impersonation of her for the first time. That's the kind of film that RBG is — jam-packed with segments that equally inform and entertain, well aware of what Ginsburg stands for, and unashamedly celebratory about her impact and achievements. Co-directors Julie Cohen and Betsy West had each separately interviewed the justice previously, and felt that the time was right for a documentary paying tribute to her life's work. They couldn't have been more accurate, astute or ahead of the curve. Consider the end result not just an ode to an American icon, but a reminder that change is possible, that battling for it is worthwhile, and that both remain the case in today's fraught and fractured US political climate. If you've missed the Notorious RBG memes, the aforementioned SNL skits, and both the praise and vitriol slung Ginsburg's way (including some of the latter from America's tweeter-in-chief), don't worry. RBG fills in the gaps, and doesn't assume that viewers have an intricate knowledge of the US judicial system or the movie's central figure. Rather, it tackles Ginsburg's tale from two angles. As a birth-to-present day chronicle, the film steps through her childhood and her opposites-attract college romance with husband Marty, as well as her determination to juggle law school with motherhood and everything that has come since. As an exploration of her specific legal influence, it delves into several cases in detail, focusing on those that she argued in front of the Supreme Court prior to joining its ranks. Ginsburg's biography, her legal contribution and each of the individual cases featured could easily furnish their own documentaries, but Cohen and West know how to balance these various components. More than that, they know how to insert Ginsburg's personality into the film, and shape it with her drive and spirit. Given that the justice is known for being reserved and serious (when she's not living her lifelong dream of starring in an opera), that might sound easier said than done. But there's humour, heart and a big helping of grit to this highly accessible movie, even when it's largely assembled through talking heads, archival footage and snippets of Ginsburg's recent speaking appearances. Indeed, RBG mimics its eponymous figure in several ways. Like the justice, it's small, smart and striving; thorough and proficient; and eager to make the world a better place than it currently is. The documentary is also a testament to something that isn't always championed quite so enthusiastically: simply working hard, getting things done and not worrying about any fanfare. With the #MeToo movement and the current recognition that gender equality is in a much worse state than it should be, the film couldn't come at a better moment, but capitalising upon the present mood is purely a stroke of good fortune. While Cohen and West knew Ginsburg was gaining a cult following when they first conceived of their project five years ago, they couldn't foresee they world they'd release their film into. Doing what's necessary and right just because there's a need for it — well, that couldn't be a more Ginsburg-esque move. https://www.youtube.com/watch?v=2TnaEg91qIA
If Justin Gignac's success in selling garbage as art is anything to go by, doing something (and doing it well) because others thought you couldn't, actually works. Gignac's New York City Garbage is just that, except packaged nicely in transparent cubes and sold as art. Selling between $50 online and $100 at selected stores in the U.S, the handpicked NYC Garbage has owners in 29 countries, according to Gignac's website. The New York City-based artist and entrepreneur has been selling garbage since 2001 and has said he wanted to prove packaging could sell anything. Gignac has also sold commemorative editions of NYC Garbage cubes including St. Patrick's Day in Ireland and President Obama's inauguration. It sounds ridiculous but you’ve got to love a guy who can make a profit out of garbage at a time where newspaper sales are declining. Image: nycgarbage.com
In The Post, journalists strive to source, confirm and publish reports about a government cover-up spanning several decades. In America's highest office, and among the connected and influential, the powers-that-be attempt to silence the story. It's a true tale, and one that couldn't be more relevant today. At the moment, if the media tried to reveal something as significant as the Pentagon Papers — which detailed the lies four consecutive US administrations told the public about the country's involvement in the Vietnam war — we all know what would happen. Tweets would fly, thick, fast, and probably misspelled. "Fake news!" they'd scream, over and over again. If you're not familiar with the real-life scandal that rocked Washington in the early 1970s, it all starts with marine turned military analyst Daniel Ellsberg (Matthew Rhys) and a treasure trove of leaked classified documents. Once The Washington Post editor Ben Bradlee (Tom Hanks) begins to suspect that their rivals at The New York Times have a big scoop in the works, the two newspapers battle it out to piece together the story. The Nixon administration pushes back, placing publisher Katharine Graham (Meryl Streep) under considerable pressure to kill their investigation. While the government accuses the press of violating espionage laws and causing irreparable damage to American security, the journalists stand by their belief in the First Amendment as well as the importance of speaking truth to power. Complicating matters further is the paper's impending stock offering, with the board and investors nervous about possible controversy. There's perhaps never been a better time to make a movie about an attack on the freedom of the press, or the need for the media to scrutinise the workings of the country's leaders. That feeling is inescapable while watching The Post, to the point that many of its rousing speeches could easily be uttered today. That said, director Steven Spielberg dedicates the bulk of the film's time to the procedural business of reporters doing what they do: chasing leads, combing through documents, butting up against deadlines, and more. Tracking their hard work, as well as the difficult decisions and fierce opposition that comes with it, the drama is solid, smart and polished. Working together for the first time in their long and illustrious careers, the same can be said of the movie's two stars. The Post is an ensemble effort, with Bob Odenkirk, Carrie Coon, Tracy Letts and Sarah Paulson all fantastic in pivotal parts. But the central performances of Hanks and Streep are particularly instrumental in the film's hard-earned thrills. Hanks ensures Bradlee's hard-nosed determination shines through, while Streep brings quiet courage to a trickier and ultimately more resonant role. Among The Post's many timely subjects, the dismissive treatment Graham endured as the first female publisher of a major American paper does not escape attention. Nor does her fortitude in fighting back. With Spielberg in the director's chair, working with a script by first-timer Liz Hannah and Spotlight Oscar-winner Josh Singer, none of the above should be surprising. Increasingly at home making serious-minded dramas as the decades go by — see Lincoln and Bridge of Spies in recent years — the filmmaker's handling of tone and pace suits the story and subject matter perfectly. With frames filled with period detail and steely hues (the picture was shot by his now 16-time cinematographer Janusz Kaminski), Spielberg favours an old-fashioned, no-nonsense approach that nonetheless proves thoroughly rousing. And really, how better to handle a movie like this. This tale might be history, but these days it feels like anything but. https://www.youtube.com/watch?v=N1VcCv9JOPQ
Maybe Sammy is no stranger to winning an award. It was named in the top 50 bars in the world in 2019, 2020 and 2021 — and named the Best Bar in Australasia at The World's 50 Best Bars in all three years. Back in 2019, it was also named the Best International New Cocktail Bar at the 2019 Tales of the Cocktail Spirited Awards in New Orleans. The Spirited Awards recognises the best cocktail bars from around the world since 2007, and this year Maybe Sammy has one-upped itself taking out two honours at the 2022 ceremony. Firstly, the bar's staff have been crowned Best International Bar Team, while co-founder Martin Hudak has also been awarded Best International Brand Ambassador. Maybe Sammy beat out the Best International Bar Team shortlist which included Columbia's Alquimico, Greece's The Clumsies and Spain's Two Schmucks to be named the cream of the crop in the areas of experience, professionalism, hospitality and consistency of service. While the entire team was recognised, Hudak was singled out and named Best International Brand Ambassador for his work with the beloved local coffee liqueur brand Mr Black. Maybe Sammy was the only Australian bar to be recognised at the ceremony. Elsewhere in the world, London featured heavily in the international categories, with Tayer + Elementary taking out the Best International Cocktail Bar, Sexy Fish being named Best International Restaurant Bar and the confusingly named A Bar with Shapes for a Name winning Best New International Cocktail Bar. Plus, Katana Kitten out of New York was named Best US Cocktail Bar, New Orlean's Jewel of the South took out Best US Restaurant Bar and fresh Albuquerque face Happy Accidents won Best New US Cocktail Bar. [caption id="attachment_794856" align="alignnone" width="1920"] DS Oficina[/caption] You can find the list of winners for the Tales of the Cocktail 2022 Spirited Awards at the award ceremony's website.
It may be hot outside, but it's not quite 'our city in summer' until the Sydney Festival starts up on January 9, bringing with it a tidal wave of performance, music, art and other festivities. Its 2014 program is a massive conglomeration of 104 events, featuring 722 artists from 80 companies across 17 countries. Look out for a much bigger festival garden (so big, in fact, it's now the Festival Village) in Hyde Park, the return of music venue Paradiso at Town Hall and everyone's favourite duck, and a version of Stonehenge that you can bounce on. Yes, bounce on. Hive + 100 Million Nights Nothing screams 'arts festival' like a work that ticks all the mediums at once. Electronic super duo Canyons are collaborating with celebrated visual artist Daniel Boyd to present 100 Million Nights, a multisensory performance making its way around the country. Boyd's digital artwork is presented as a three-panel video installation, in front of which Canyons perform live as a four-piece band. Also included is another sight and sound work by former Battles frontman Tyondai Braxton. Hive will blend modular synthesisers, sound design and percussion with custom built "architecturally designed" illuminated platforms. January 21 at the Sydney Opera House Sacrilege Sacrilege is a life-size inflatable recreation of Stonehenge. That’s right. The enigmatic monument that’s perplexed historians for years has been "reimagined" as a bouncy castle that all and sundry can hop around on. Take that, reverence. After premiering at the London Cultural Olympiad, Sacrilege is now taking over a big whack of Hyde Park. It's 34m long, so there should actually be room for the jumping hordes. January 8-26 at the Festival Village Festival Village We all know Hyde Park is much better when conceived as a kind of Midsummer Night's Dream: a magical, atmospheric hub bounded by strings of lights. This Sydney Festival promises a Festival Village in Hyde Park is the ultimate garden bar, thrice as sprawling as last year's Festival Garden. It's your one-stop summer destination, with Sacrilege for arty exertion; the Spiegeltent, Village Bandstand and Rekorderlig Gazebo for all your entertainment needs; and Gelato Messina, Food Society, Jafe Jaffles and Woofys hot dogs for sustenance (just behold these custom-made Messina creations). Entry is free and the Village gates are open until 2am. January 9-26 at Hyde Park North Dido & Aeneas In the vein of last year's Semele Walk, Dido & Aeneas combines exquisite dance, costumes, singing, music and stagecraft to tell a passionate love story. By Henry Purcell, the Baroque score was described by festival director Lieven Bertels as having "topped the emo charts for almost 350 years now". Most headline-grabbingly, the show is an 'underwater opera', opening with a dance that takes place inside a 7500L water tank. Be prepared; tickets are expensive, but you can see why. January 16-21 at the Lyric Theatre Amadou & Mariam's Eclipse To be a part of Amadou & Mariam's Eclipse, you have to leave the sense upon which you probably feel most dependent — your sight — at the door of the Town Hall. For the entire show, the room will be immersed in pitch-black darkness. Through the course of the show, performers Amadou and Mariam, who met in the 1970s at the Bamako Institute for the Young Blind, sing, play, tell stories of their home in Mali and spray some scents in your direction. January 9-11 at the Town Hall La Voix Humaine La Voix Humaine is like the opposite of Dido and Aeneas. Instead of 60 performers and a whole bunch of stage magic, you get one woman pleading with her lover down the phone line after a break-up. Adapted from the script by legendary poet and film directer Jean Cocteau by Amsterdam's world-renowned Toeneelgroep, it's a chance to peer in to someone else's world, at perhaps its most tense moment. January 9-13 at Carriageworks Hot Dub Time Machine When it played for free at last year's festival, Hot Dub Time Machine caused a crush at the gates of the Spiegeltent. This year, the festival's wised up and programmed more of it, with a $20 cover charge on most occasions. If you can go, do go. Over the course of one long set, Sydney DJ Tom Loud spins, mixes and mashes his way through the story of dance music — since 1954. The catch is that the entire operation is 'powered' by energy generated by the crowd. Whether you're dancing, singing, talking or yelling, you'll be helping to keep the action rolling. January 10 at Parramatta Opening Party; January 11 at Summer Sounds in the Domain; and January 11, 18 and 25 at the Spiegeltent. Andrew Weatherall According to Resident Advisor, Andrew Weatherall was the world's first "proper punk DJ". It might be the first (and last) time that "proper" and "punk" are used in the same sentence, but there's no arguments that Weatherall has earned such a distinction. He's remixed a list of names as long as the Nile, from Bjork to the Manic Street Preachers to My Bloody Valentine to James. His live shows are famously hypnotic, seductive affairs, combining post-punk, dark electro and house. January 26 at the Spiegeltent I, Malvolio A sometime Royal Shakespeare Company director and an original theatre maker of great repute, Tim Crouch drags the “notoriously wronged” steward from Twelfth Night out into the limelight. By the end of that play, Malvolio has been bullied, tricked into thinking his mistress is in love with him, publicly humiliated and institutionalised) And Crouch thinks all of you out there were part of the problem, complicit in Malvolio's torment. The result is a sort of deranged stand-up routine in which Crouch rants at the audience while wearing dirty long johns. From reviews the world over, we know it's hilarious. To see him go full pelt, come to the adults-only show on January 18 at 10pm. January 16-19 at Carriageworks Sun Ra Arkestra Before David Bowie wrote ‘Life on Mars?’, before Vangelis released Albedo 0.39 and even before the original Star Trek, Sun Ra was preoccupied with outer space. But for someone who believed he didn’t belong here, he contributed more than his fair share. The Solar Arkestra, formed in the 1950s, was the first big band to explore total collective improvisation. Underpinned by Sun Ra’s philosophy, which combined ancient Egyptian spirituality with space age possibilities, the group also became known for its striking theatrical elements — sci-fi headdresses, multicoloured robes, metallic capes and dancers were all part of the show. With Sun Ra having passed away in 1993, the Arkestra now performs under the directorship of legendary saxophonist Marshall Allen. January 18 at the State Theatre. And also... There are 104 events all up at the Sydney Festival — so we couldn't go without mentioning a few more of our favourites. Magic/theatre show Bullet Catch calls for you to pull the trigger; Othello: The Remix is a charming "ad-rap-tation"; Forklift features dancers who also hold heavy machinery licences; Amanda Palmer is playing a mere ten Spiegeltent shows; Big Star’s Third sees the cult album played in all its broken, twisted beauty by an all-star band; Lee Ranaldo (Sonic Youth) and Mike Patton (Faith No More, Mr. Bungle, etc) unite for a collaborative performance; Christian Boltanski’s mega installation Chance fills the space left by last year's Waste Not; and 13 Rooms hit artist Roman Ondak is back for Kaldor Public Art Project 28. By the Concrete Playground team.
Residents of Auckland, Adelaide, Wellington, Perth, Melbourne and Brisbane, rejoice — you're living in some of the world's most liveable cities. Thanks to lockdowns and other pandemic restrictions, life in both Australia and New Zealand has been far from normal over the past year and a half; however, six Down Under spots have ranked in the top ten in The Economist Intelligence Unit's Global 2021 Liveability Index. Auckland took out first place, unseating Vienna, which nabbed the top spot for three years between 2018–20. Adelaide came in third, Wellington placed equal fourth and Perth ranked sixth. Also, Melbourne tied for eighth — after coming in second in 2019, and topping the list between 2010–2017 — while Brisbane closed out the top ten. The six Australian and NZ cities were joined by Osaka, which ranked second; Tokyo, which tied for fourth with Wellington; and Switzerland's Zurich and Geneva, which came in at seventh and equal eighth respectively. The annual index ranks 140 cities on stability, healthcare, education, infrastructure, culture and environment, giving each city a rating out of 100. Auckland achieved a score of 96.0 overall — and, at the other end of the list, Damascus in Syria scored 26.5, ranking in 140th spot. It'll come as no surprise that the overall liveability score dropped seven points compared to before the pandemic — or that cities fared better if they had implemented strong border closures, been able to handle the health crisis and/or rolled out vaccines quickly in response to COVID-19. According to the EIU, Auckland soared to the top thanks to "the city's ability to contain the coronavirus pandemic faster and thus lift restrictions earlier, unlike others around the world." The dominance of Australian and NZ cities also came about because "tight border controls have allowed residents to live relatively normal lives." Just missing the top ten: Sydney, which came in 11th. It had ranked third back in 2019. That's hardly a big slide, though, with Vienna now sitting 12th — and the EIU noting that Frankfurt, Hamburg and Dusseldorf, all in Germany, have had the biggest falls among all 140 cities. To read the full Global 2021 Liveability Index, head to the Economist Intelligence Unit's website.
As Sydneysiders, we love a place where we can bring our furry friends — especially when those places sell alcohol. It really does make for a perfect day, and Sydney Beer Week understand this. So for the festival's penultimate day, Grifter Brewing Company and New Zealand Brewery Parrot Dog are joining forces to make for a fun afternoon for both you and your pooch — you'll be able to sip that refreshing brew with your fluffy mate. Head on down to Grifter this Saturday, October 28 with your pup for pints at bar prices.
The Robin Hood Hotel is launching the first in a series of film director-focused events, starting with he of the exactly symmetrical compositions, Wes Anderson. It will be an evening of art and cocktails dedicated to the prolific indie filmmaker. The evening's sponsored by Campari (who's up for one on the rocks a la Steve Zissou?) and All In Brewing Co, who'll be offering exclusive tastings of their new Bill Fucking Murray Malt Liquor at the event. "We’re inviting everyone to get dressed up for the event and come along to enjoy a few of our new cocktails while taking in some art," says licensee Luke Prou. The only fault that we can find in this otherwise perfectly valid excuse to make like Margot Tenenbaum and pair a Lacoste polo dress with a fur coat (fake, of course) is that the whole thing has to fall in the middle of summer. Extra ice with that Campari?
New year, new murder in the building — in the fictional Arconia in New York, that is. That's what's in store for fans of Only Murders in the Building, the true-crime comedy that proved one of 2021's surprises and delights. Knowing they're onto a good thing, Hulu in the US quickly renewed the hit series, and now it's coming back in June with another killing to solve. If you missed the first season in 2021, it takes a great idea and turns it into an amusing murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then Only Murders in the Building is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. [caption id="attachment_824354" align="alignnone" width="1920"] Craig Blankenhorn/Hulu[/caption] That's how the first season panned out. Think Knives Out, but a sitcom and also a little goofier. Now, as the just-dropped first trailer for the show's second season shows, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes — namely, season one's big finale — and they have another murder to investigate (and another podcast season to chat about it on, obviously). Complicating their efforts this time around are a trio of factors: their public implication in the death in question; the fact that there's now a competing podcast about them and this new murder; the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be known until Tuesday, June 28, when Only Murders in the Building returns — but, whatever happens, both Cara Delevingne and Amy Schumer will be involved, with the pair joining the cast as guest stars. Check out the trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Already made your way out of a serial killer's lair in Sydney? Panic not, a brand new escape room-style adventure is about to land in Sydney. And, instead of trapping you within four walls, it challenges you to get into a room, steal a piece of art and get out with it. Art Heist is the latest project of the Jetpack Theatre Collective, who specialise in out-of-the-box theatrical experiences. Before now, they've managed to chase their audiences through mazes, row them across lakes and transform them into a herd of stampeding rhinos. For Art Heist, Jetpack has built Wade Gallery, a fictional art space in Dulwich Hill. Inside lies a masterpiece titled The Fat Dragon, which is coveted by Adrian Bailey, an unknown benefactor. Acting as one of his thieves, you'll have 45 minutes to steal it for him. Along the way, you'll be deciphering clues, getting around guards, avoiding alarms and squeezing through air vents. The guards aren't just statues or robots, but actual actors, who'll be responding in real time to your moves — that's part of what what sets Art Heist apart from established escape rooms. "With a stressful political climate and incredibly fast-paced news and social media cycle, it can be invigorating to lose yourself in pretending to be somewhere and someone else," said Jim Fishwick, director of Art Heist. "And when culture is now so available on a phone, what does it really mean to go to a theatre or go to a gallery? It's the social connection with the people you're with and the presence of the art around you." Art Heist is at 404 New Canterbury Road, Dulwich Hill, from 1 June–30 July. It runs on Thursday and Friday, 5.30–8.30pm, and on Saturday and Sunday, 1.30–8.30pm. New sessions start each hour.
Excellent movie, apt title. Since premiering at the 2022 South by Southwest Film Festival, Everything Everywhere All At Once has lived up to its name. The Michelle Yeoh-starring action-comedy was a global hit in cinemas. It was a well-deserved audience favourite, too. And, it's utterly beloved by awards bodies. The latest accolades showering it with affection? The 2023 Oscars, which has just given the film a year-best haul of 11 nominations. Everything Everywhere All At Once scored Academy Award nods for almost everything it could, in fact, in a year that broke the record for the most Asian acting nominees ever. Yeoh pops up for Best Actress and made history doing so, as the first nominee in the category who identifies as Asian. Her co-stars Ke Huy Quan and Stephanie Hsu were also recognised, in the Best Supporting Actor and Best Supporting Actress fields respectively. And, for the Brendan Fraser-led drama The Whale, Hong Chau also received a nomination in the latter category. Similarly making history: the infectious song 'Naatu Naatu' from explosive action-musical RRR, which became the first tune from an Indian feature to get recognition in the field. Yes, that's a baffling statistic given India's prolific film industry. While Everything Everywhere All At Once leads the contenders overall, it has plenty of company. German war drama All Quiet on the Western Front and Irish comedy The Banshees of Inisherin each picked up nine nominations, while the Australian-made Elvis nabbed eight, Steven Spielberg's The Fabelmans scored seven, the Cate Blanchett-led Tár and high-flying Tom Cruise vehicle Top Gun: Maverick received six each, and Marvel sequel Black Panther: Wakanda Forever collected five. Naturally, Blanchett received her eighth Oscar nomination for Tár. No, fellow Australian Baz Luhrmann wasn't nominated for Best Director for Elvis. But many of the Elvis Presley biopic's nods were for behind-the-scenes categories, which means nominations for the likes of cinematographer Mandy Walker, plus costume and production designer Catherine Martin. Among the other highlights, Normal People favourite Paul Mescal received his first Oscar nomination for father-daughter drama Aftersun; the always-excellent Brian Tyree Henry earned some love for his thoughtful turn in Causeway; Andrea Riseborough capitalised upon celebrity support to score a look-in for To Leslie; and movies with scene-stealing donkeys had the Academy braying with love, thanks to The Banshees of Inisherin's nominations and a Best International Feature Film nod for EO. Also, gorgeous Irish drama The Quiet Girl was recognised in the same field, and wonderful documentary Fire of Love is among the doco contenders. And, the new Oscar-nominee with the best name? It's Best Animated Short competitor My Year of Dicks. That said, the Academy couldn't find room for far too many other exceptional films — and the people behind them — in 2023's batch of nominees. That includes completely leaving out phenomenal South Korean thriller Decision to Leave in all fields, deciding that female filmmakers weren't worthy of any Best Director nominations this year, ignoring Viola Davis for The Woman King and Danielle Deadwyler for Till (and Black actors in the lead acting categories overall), overlooking Moonage Daydream for Best Documentary, and only giving RRR that one nod for Best Song. The Oscars will announce this year's winners on Monday, March 13, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: OSCAR NOMINEES 2023 BEST MOTION PICTURE All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking BEST DIRECTOR Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A LEADING ROLE Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once BEST ORIGINAL SCREENPLAY The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund BEST ADAPTED SCREENPLAY All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley BEST INTERNATIONAL FEATURE FILM All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl BEST ANIMATED FEATURE Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red BEST DOCUMENTARY FEATURE All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny BEST ORIGINAL SCORE All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams BEST ORIGINAL SONG 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) BEST CINEMATOGRAPHY All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister BEST FILM EDITING The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton BEST PRODUCTION DESIGN All Quiet on the Western Front, Christian M. Goldbeck and Ernestine Hipper Avatar: The Way of Water, Dylan Cole, Ben Procter and Vanessa Cole Babylon, Florencia Martin and Anthony Carlino Elvis, Catherine Martin, Karen Murphy and Bev Dunn The Fabelmans, Rick Carter and Karen O'Hara BEST VISUAL EFFECTS All Quiet on the Western Front, Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett The Batman, Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy Black Panther: Wakanda Forever, Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick Top Gun: Maverick, Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher BEST COSTUME DESIGN Babylon, Mary Zophres Black Panther: Wakanda Forever, Ruth Carter Elvis, Catherine Martin Everything Everywhere All At Once, Shirley Kurata Mrs Harris Goes to Paris, Jenny Beavan BEST MAKEUP AND HAIRSTYLING All Quiet on the Western Front, Heike Merker and Linda Eisenhamerová The Batman, Naomi Donne, Mike Marino and Mike Fontaine Black Panther: Wakanda Forever, Camille Friend and Joel Harlow Elvis, Mark Coulier, Jason Baird and Aldo Signoretti The Whale, Adrien Morot, Judy Chin and Anne Marie Bradley BEST SOUND All Quiet on the Western Front, Viktor Prásil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte Avatar: The Way of Water, Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges The Batman, Stuart Wilson, William Files, Douglas Murray and Andy Nelson Elvis, David Lee, Wayne Pashley, Andy Nelson and Michael Keller Top Gun: Maverick, Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor BEST DOCUMENTARY SHORT SUBJECT The Elephant Whisperers Haulout How Do You Measure a Year? The Martha Mitchell Effect Stranger at the Gate BEST ANIMATED SHORT FILM The Boy, the Mole, the Fox and the Horse The Flying Sailor Ice Merchants My Year of Dicks An Ostrich Told Me the World Is Fake and I Think I Believe It BEST LIVE ACTION SHORT FILM An Irish Goodbye Ivalu Le Pupille Night Ride The Red Suitcase
Fancy grabbing a drink and hitting a hole-in-one at the same time? How about working your way around two different nine-hole mini-golf courses in a venue that was once a church? If you answered yes to either of these questions and you're in Brisbane, you're in luck. Thanks to Holey Moley Golf Club, come September 29 you can do all of the above. Taking over the Fortitude Valley site that has hosted many a bar, club, gig and dance party in recent years — and many a religious ceremony before that — Holey Moley aims to get eager punters exclaiming its name several times over. That's an understandable reaction given that the leisure entertainment complex will include mini-golf, a cocktail bar and an all-round hangout hub rolled into one. Those keen on teeing off will be pleased to know that each of the 18 holes will have their own theme, with the venue hinting that a mashup of Alice in Wonderland, iconic surfing culture, puppeteers, arguably the best retro video game ever, Nirvana, Snoop Dog, Pharrell Williams and Chubby Checker, Game of Thrones and more is on the cards. And anyone eager to sample the space's other treats can look forward to cocktails such as the Tee Quila Mocking Birdie, Teeyonce Holes, Long Island Iced Tee and G & Tee, plus a food truck menu. If it all sounds like one of the most novel ideas for a new inner-city hotspot you've heard in some time, that's because it is — but hey, people probably thought that when Strike Bowling combined knocking down pins and knocking back beverages. In fact, the folks behind Holey Moley would know a thing or two about that, because they also started Strike. We can only assume that a frisbee-themed nightclub is going to be their next venture. Holey Moley Golf Club opens on September 29 at 25 Warner Street, Fortitude Valley. For more information, keep an eye on their website and Facebook page.
Winter is almost upon us and, to welcome in the new season in culinary style, Carbòn — Bondi's hacienda-inspired Mexican restaurant — has a new menu to warm you up from the inside out. The new food offering will complement the chillier weather outside, featuring rich proteins, hearty vegetables and, being by the waterside, plenty of seafood, of course. And, to celebrate, we're giving you the opportunity to shout your entire crew to a lavish feast there. With a cool $400 to spend, you can impress your mates with the likes of mussels, chorizo and tomatillo, confit pork with amarillito mole and barbecue whole snapper with heirloom tomato and avocado salsa. Of course, it wouldn't be a night at Carbòn without some tacos — think lamb and barbacoa salsa, octopus with pesto chorizo and a veggie option of squash and black beans. And we don't expect you to choose between the desserts, so round it off with both the chocolate cake with coconut and lychee ice cream and the lemon curd with crunchy meringue and vanilla crumble. For a tasty night out with all your mates that won't cost you a dime, enter your details below for your chance to win. [competition]721359[/competition]
Whether you're a big nature nerd or err on the indifferent side to the science of it all, chances are you've seen at least some of Sir David Attenborough's Blue Planet. The BBC nature documentary series — narrated by the man himself and accompanied by an epic score from Hans Zimmer — first aired back in 2001, and its follow-up second season, Blue Planet II, was released just last year. But the bits you've seen on TV or YouTube are sure to be belittled when the BBC brings the live show to Australia this April. Like the performances of Harry Potter and Star Wars we've seen in recent months, Blue Planet II Live in Concert will see the documentary screened in all its glory accompanied by a live orchestra. And it's a big score. The music for Blue Earth II was composed by none other than Hans Zimmer (responsible for epics like The Lion King, Gladiator, The Dark Knight Rises and Inception) alongside Jacob Shea and David Fleming. In Australia, the score will be performed by three of the country's leading orchestras and, in lieu of Attenborough, Ab Fab's Joanna Lumley will be narrating in real time. The show will travel around Australia in March 2019, visiting Melbourne, Brisbane and Sydney for just three shows all up. Tickets go on October 15. In the meantime, you can watch ehe first season of Blue Planet on Netflix. BLUE PLANET II LIVE IN CONCERT TOUR DATES March 8, 2019— Sydney Theatre, International Convention Centre, Sydney (with the Sydney Symphony Orchestra) March 9, 2019 — Plenary, Melbourne Convention and Exhibition Centre (with the Melbourne Symphony Orchestra) March 11, 2019 — Great Hall, Convention and Exhibition Centre (with the Queensland Symphony Orchestra) Blue Planet II Live in Concert will tour Australia from May 8–11, 2019. Presale tickets will go on sale on Monday, October 15. For more info, visit blueplanet2live.com.au. Image: Hugh Miller, copyright BBC NHU (2016).
Love the great outdoors but not the sleeping in a tent bit? Parks Victoria hears you, so it's piloting a new accommodation option across the state's most iconic parks. Introducing Canopy eco sleeper pods. Despite the name, the structures look much more like tiny houses than like the Japanese-style capsule hotels the name evokes. The 'eco' part is spot on, though — each pod has been designed with sustainability in mind, using eco-friendly, low impact materials with a focus on energy efficiency and minimal impact on the surrounding landscape. The pilot program will run from April through July, starting off in Point Nepean National Park. Four pods will be tested during the pilot, two from JAWS Architects and Pod Matrix and two from Oscar Building and Troppo Architects. Of course, this means the pods will come in a variety of styles — with and without kitchen and bathroom facilities, along with 'off-grid' models which are fully self-sufficient with electricity and running water. While still in pilot phase, people are encouraged to stop by to view and provide feedback on the pods, specifically on aspects of design, amenity, accessibility, visual impact and visitor experience. You are also able to register interest for an overnight test stay in one of the Point Nepean pods. If the pilot is successful, you can expect Canopy to pop-up in national parks across the state. For more information on the project or to provide feedback, visit the website here.
Add another huge festival to your calendar, and thank Norwegian DJ Kygo in the process. Not only is the 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent one of the headliners at Palm Tree Music Festival when it makes its Australian debut in 2023 — the former bedroom producer is also behind the whole shindig, creating it with his manager Myles Shear. Until now, the fest has played The Hamptons, New York, Cabo, Mexico and Croatia, and proven a hit in the process. Next year, it'll add a trip Down Under to its itinerary for the first time ever, rolling into Sydney, Brisbane and Melbourne in mid-March. While Kygo brings the fest some sizeable star power, he's not its only high-profile DJ doing the honours for the event's maiden Aussie run. Also hitting the decks is Tiësto, aka one of the biggest names in electronic music in the world for the past couple of decades. From initially getting mainstream attention back in 2000 with his remix of Delerium's 'Silence' through to his 2020 hit 'The Business' and 2022's Charlie XCX collaboration 'Hot In It' — and plenty in-between — the Dutch DJ will have quite the back catalogue of tracks to mix into his set. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too. Also joining the bill so far, heading to Showgrounds Dome in Sydney, Brisbane's Riverstage and Melbourne Showgrounds: Lost Frequencies, Sam Feldt and Frank Walker. A lineup of local talent will be announced at a later date. View this post on Instagram A post shared by Palm Tree Music Festival (@palmtreefestival) PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN LINEUP: Tiësto Kygo Lost Frequencies Sam Feldt Frank Walker PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN DATES: Friday, March 10 — Showgrounds Dome, Sydney Saturday, March 11 — Riverstage, Brisbane Sunday, March 12 — Melbourne Showgrounds Palm Tree Music Festival heads to Australia in March 2023. Tickets presales start at 11am AEDT on Friday, October 14, with general sales from 10am AEDT on Thursday, October 20. For more information, head to the festival promoter's website. Top image: Ss279 via Wikimedia Commons.
The 80s were a booming time for teen movies, but one film from the era will always stand out from the crowd. Like protagonist, like picture, clearly. Ferris Bueller (Matthew Broderick) might be the most popular student at his suburban Chicago high school, but he's not one for blending in — even when he's skipping school with his anxiety-riddled best friend Cameron (Alan Ruck) and laidback girlfriend Sloane (Mia Sara), all while their principal is on their tail. Almost 35 years since it first reached cinemas, Ferris Bueller's Day Off has become not just a classic but an iconic flick — and, no matter how many times you rewatch it, it's easy to see why. Written and directed by the great John Hughes (Sixteen Candles, The Breakfast Club), it's as amusing as it is entertaining. And yes, it'll have you wanting to sing 'Twist and Shout' in a parade.
2023 marks eight years since one of the greatest living American directors last released a film. While he did direct an episode of Tokyo Vice's first season in 2022, Michael Mann hasn't had a movie flicker across the big screen since 2015's Blackhat. Thankfully, that's changing with a picture that also gives the world Adam Driver as a race car driver-turned-sports car entrepreneur: Ferrari. Mann adds Ferrari to a resume that also includes 80s masterpiece Thief, The Last of the Mohicans and Heat in the 90s, plus Collateral, Miami Vice and more. For Driver, the film proves another case of living up to his name on-screen. He's played a bus driver in Paterson, and piloted a spaceship in the Star Wars sequel trilogy as well as 65. So, zipping through the Italian streets here fits easily. As both Ferrari's first teaser trailer and just-dropped new full sneak peek show, Driver is behind the wheel in a film that focuses on its namesake when he's an ex-racer. As adapted from Brock Yates' book Enzo Ferrari: The Man, The Cars, The Races, The Machine, Mann's movie hones in on specific chapter of Enzo Ferrari's life: 1957, as potential bankruptcy looms over his factory, his marriage is struggling after a heartbreaking loss and his drivers approach the Mille Miglia race. Accordingly, Ferrari promises to peer behind the Formula 1 facade, into Enzo's relationship with his wife Laura (Penélope Cruz, Official Competition), the death of their boy Dino, and the son Piero with Lina Lardi (Shailene Woodley, Robots) that he doesn't want to acknowledge. If you know your racing history, you'll also know that 1957's Mille Miglia — which spanned 1000 miles across Italy — was its last due to multiple deaths during the event. So, that race won't be an insignificant part of the film. Set to release at Christmas in the US and on January 4, 2024 Down Under, Ferrari also stars Patrick Dempsey (Disenchanted), Jack O'Connell (Lady Chatterley's Lover), Sarah Gadon (Black Bear) and Gabriel Leone (Dom). Check out the trailer for Ferrari below: Ferrari releases in cinemas Down Under on January 4, 2024. Images: Lorenzo Sisti / Eros Hoagland.
This month, Woolloomooloo's 100 percent vegan Alibi Bar and Kitchen is adding a boozy vegan shake offering to its Dirty Greens bar menu. That means you'll be able to tuck into plant-based versions of American diner favourites, complete with an OTT milkshake made with Gelatissimo vegan gelato. Available from Saturday, March 7, to Saturday, April 4, the For Goodness Shake range features three different boozy shakes, starting with the Pot of Gold — caramel mud cake gelato is mixed up with Irish whiskey, almond milk and vanilla, and topped with vegan whipped cream, cranberry shortbread, toasted hazelnuts, honeycomb and a peanut protein ball. Chocolate lovers might go for the Triple Threat, starring triple choc gelato, macadamia milk, hazelnut liqueur, Amaretto and vodka, with hazelnut spread, waffle cone, toasted marshmallow and a vegan 'Snickers' stacked up on top. For something a little fruity, the Tropicolada is coconut cherry choc gelato, ten-year-old Caribbean rum, falernum syrup, tropical purée and lime zest and is complete with Persian fairy floss, rainbow sprinkles and a ginger and macadamia cookie. These specialty cocktails come in at $20 a pop, or make it a combo with a burger for $29 — the deal comes with either the Alibi Burger (an Alt. Meat Co patty in a potato bun with lettuce, tomato, pickles and aioli) or the Chick'n Waffle Burger with slaw, pickles and a house-made smoky hot sauce. Elsewhere on the Dirty Greens menu, you'll find mac 'n' cheese bites, cheeseburger spring rolls, hot dogs made with Alt. Meat Co sausages, 'pepperoni' pizza and more. The Dirty Greens bar menu and the 'For Goodness Shake' range is available from 4–11pm every Tuesday to Sunday.
When was the last time you saw an exhibition inspired by cockfighting? Never? Then see Joseph McGlennon's latest show at Michael Reid, which draws upon the tradition within Balinese Hinduism. Animal-lovers may well find the concept confronting, but in Bali, cockfights, or talen, are part of established religious practice, taking place in an ancient ritual to expel evil spirits — the blood of the losing bird is shed to provide an offering at events like temple festivals and religious ceremonies. McGlennon's prints explore the idea that these birds are bred for aggression, trained to be killers, yet they simultaneously possess a holy significance. Hence the show title, Heavenly Fighters. Expect mythical, ablaze-with-colour digital prints of the fighting creatures, capturing their virility and power. McGlennon has a background in branding and advertising, which partly explains his work's visual oomph… plus a lot of time in post-production. Those familiar with his Kangaroo Studies (2010) or Florilegium #1 (2014) — which won him the Bowness Prize — can already attest to the majesty and mysterious power his pieces transmit. Image: Joseph McGlennon, Heavenly Fighters #4, 2017
If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then you should be watching Only Murders in the Building. The Disney+ series follows three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. First hitting streaming last month, and now dropping new episodes week-by-week, the series has been unfurling its first season in a very entertaining fashion. It's exceptionally well-cast, and makes makes the most of its main trio's mismatched vibe. It's filled with hearty affection for everything it jokes about, resulting in an upbeat satire of true-crime obsessions, podcasting's pervasiveness and the intersection of the two. It adores its single-setting Agatha Christie-lite setup, it's always empathetic, and it also loves peppering in highly recognisable co-stars and guest stars such as Fey, Nathan Lane (Penny Dreadful: City of Angels), Amy Ryan (Late Night) and even Sting. With the latter, it isn't above making puns about not standing so close to him, or just serving up jokes on that level in general. Yes, it's a delight. And, although it's only five episodes in so far, Only Murders in the Building has just been renewed for a second season. So, if you'd like more of a show that's basically Knives Out, but a sitcom and also a little goofier, you're in luck. Expect another round of murder and podcasting. Expect another suspicious death in the show's Arconia building, too, given the series' title. That's great news for viewers, but probably not for the apartment block's residents — other than Martin, Short and Gomez's characters, that is. Exactly what the next season will cover and when it'll arrive hasn't yet been revealed; however, co-creator and executive producer John Hoffman said that "to carry on our show's wild ride of mystery-comedy-empathy is too exciting for words." Streaming as part of Disney+'s new Star expansion, which launched in Australia back in February this year, Only Murders in the Building enjoyed Star's most-watched premiere among its original series. So, it clearly already (and deservedly) has plenty of fans, all ready not just for the next five episodes of season one, but for another season afterwards. Check out the trailer for Only Murders in the Building below: The first five episodes of Only Murders in the Building's first season are available to stream now via Star on Disney+, with new episodes dropping weekly. Read our full review. The show will return for a second season, but exactly when that'll be hasn't yet been announced. Images: Craig Blankenhorn/Hulu.
In a festival full of buzzing crowds and street vendors, the Chinese Garden of Friendship is offering a more calming experience as it hosts Saturday morning Tai Chi classes. Conducted by Fiona Maiyin Thockloth from the Inner Peace & Wellbeing Centre, the lessons take an hour out of your weekend and promote mental clarity in the beautiful garden surrounds. It's a popular class, so make sure you get there 15 minutes early to sign up. If you want to keep learning over the Chinese New Year festival, try fan dancing and other workshops.
"On a bitter, cold Christmas eve, one dark soul is selected for redemption by the ghosts of Christmas past, present and yet to come". So starts the narration for the trailer for new festive flick Spirited — and so starts another new take on A Christmas Carol, too. But this adaptation and updating of Charles Dickens' well-known tale has a few things that most others don't, plus a twist. First, there's tunes, because this movie is a musical, complete with plenty of big song-and-dance scenes in the just-dropped sneak peek. Also, it features Will Ferrell (The Shrink Next Door) and Ryan Reynolds (The Adam Project) leading the show. (Yes, you now have another Ferrell movie to add to your Elf-led festive binge.) Reynolds yet again plays 'ordinary guy that something unusual happens to'. Actually, he plays Clint Briggs — but thanks to films like Free Guy and The Change-Up, he has slipped into this kind of part before. Here, he's the "level-20 pain in the Dickens" who is selected by the Ghost of Christmas Present (Ferrell) to get a haunting visit, to hopefully spark him to reform his ways. As brought to the screen and stage countless times, transforming from curmudgeonly to compassionate is the aim of this spirited intervention, which also features Octavia Spencer (The Witches) as Clint's boss — and someone that the Ghost of Christmas Present is quite fond of. The twist with Spirited, other than the songs? The film unfurls A Christmas Carol's narrative from the perspective of the ghosts. Writer/director Sean Anders and his co-scribe John Morris say "bah humbug!" to the regular version of the story, clearly, with the pair reteaming after Instant Family, the Daddy's Home movies and Horrible Bosses 2 — and reuniting with Ferrell after Daddy's Home franchise as well. Apple TV+ will stream the end result, releasing Spirited on Friday, November 18, and adding it to the 'films based on A Christmas Carol' subgenre alongside everything from Ghosts of Girlfriends Past and Scrooged. Check out the trailer for Spirited below: Spirited will be available to stream via Apple TV+ from Friday, November 18.
Thanks to airport reads and movies based on them, everyone has heard of The Da Vinci Code. Leonardo da Vinci's Codex Atlanticus is the true stunner, though. The 12-volume set is filled with the artist and inventor's drawings and writings, detailing his thoughts and featuring his sketches on a wide array of topics. It dates back to the 15th and 16th centuries. It's priceless. Original pages from it are also on their way to Australia. From Saturday, March 16, Australia's first permanent digital-only art gallery The Lume will exhibit Leonardo da Vinci — 500 Years of Genius, the Melbourne venue's major 2024 exhibition. In its immersive fashion — because creating walkthrough art experiences is its approach — the site is paying tribute to the Italian Renaissance master. Most of the showcase will involve towering versions of artworks such as the Mona Lisa on the walls, plus pieces from his contemporaries as well; however, Codex Atlanticus will be a big feature, too. This is the first time that sheets from Codex Atlanticus will be on display in Australia. Since 1637, it has called Milan's Biblioteca Ambrosiana home. It's thanks to a relationship between the latter and Grande Experiences, which is behind The Lume and also Rome's Museo Leonardo da Vinci, that some of its pages can head this way. The Codex Atlanticus features entries from da Vinci from between 1478–1519, dating up to the year of his death. In his handwriting — in Italian, of course — and as sketched by his fingers, everything from flying machines and architecture to engineering and hydraulic systems are covered. [caption id="attachment_943630" align="alignnone" width="1920"] Biblioteca Ambrosiana[/caption] "These pages from the Codex Atlanticus represent not just a collection of sketches and writings but a gateway into the brilliance of Leonardo da Vinci's mind," said The Lume founder Bruce Peterson. "Their arrival in Australia is profound, allowing visitors to explore Leonardo in a once-in-a-generation opportunity." Leonardo da Vinci — 500 Years of Genius is clearly more than the world's most-famous enigmatic smile beaming down, then. The gallery is calling it its "most ambitious, immersive and breathtaking yet", which is quite the claim for a collection that follows a van Gogh celebration, a focus on Monet and his peers and the First Nations-centric Connection. The Last Supper will also enjoy the spotlight in a big way, while the Mona Lisa will link in with the segment of the exhibition that's all about French optical engineer Pascal Cotte, who invented a multispectral camera and has peeled back the artwork's layers using his research. Accordingly, get excited about Mona Lisa Revealed, which will include an exact 360-degree replica — the only one in the world — as created thanks to Cotte's 240,000,000-pixel multispectral camera. Also among Leonardo da Vinci — 500 Years of Genius' highlights: 50 of da Vinci's "machine inventions", which will be on loan from the Museo Leonardo da Vinci in Rome. This part of the exhibition will hero recreations made in Italy from the artist and inventor's sketches, and also using the materials and techniques he would've at the time. The exhibition will step through da Vinci's life, as well, including journeying through Florence's streets, Venice's canals and Milan — as brought to attendees via sight, sound, scent, touch and taste. That said, Leonardo da Vinci — 500 Years of Genius isn't solely about its namesake's well-known works, with the 3000-square-metre multi-sensory gallery also exploring his inspirations and those creating their own masterpieces at the same time. Botticelli's The Birth of Venus, Michelangelo's Sistine Chapel ceiling and works by Caravaggio will feature, for instance. In Queensland, at HOTA, Home of the Arts, Grande Experiences's Italian Renaissance Alive will also take a broader look at the period — but anyone wanting a glimpse of Codex Atlanticus will need to head to Melbourne. Leonardo da Vinci — 500 Years of Genius opens at The Lume, Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne, from Saturday, March 16, 2024 — head to the venue's website for tickets and further information.
With the festive done and dusted, and the new year well on its way, Hartsyard 2.0 has opened in Enmore. Say goodbye to the deep frier, and hello to the charcoal grill. Behind it, chef-owner Gregory Llewllyn is busy creating dishes he's long been dreaming of, such as scampi and prawn tartare with salt and vinegar crisps and tobiko, and chocolate with macadamia and miso caramel. Working alongside him is head chef Jarrod Walsh (ex-Automata). "For years I've had all these dishes in my head and we simply decided it was time to move on and put them on a menu," Llewellyn said. "As everyone knows, I'm into comfort food, but I'd call this more contemporary-style comfort food." That means the eatery's famed fried chicken has gone. In its place is a seafood- and veggie-driven menu, including tomato with barbecued calamari with pickled seaweed, duck leg with prickly ash and vinegar jus, and brewery bread, which is made with spent grains from local breweries Young Henrys and The Grifter. The desserts have also had a shake-up — along with the chocolate and miso caramel creation is a cherry blossom ice cream served with fresh cherries. The drinks menu has had a bit of a revamp, too. Look out for local craft beers, a bunch of natural wines, a handpicked selection of sake and signature cocktails, such as the Mr White (white rum, toasted coconut, lime, coriander) and Honey Bunny (rye, creamed honey, salt, lemon verbena). You'll notice that the interior has kept its simple charm, but is definitely brighter than before — which is a real plus. Llewllyn and partner Naomi Hart worked with Reso & Co. and Martin Taylor Made, to create a fresh, white space, splashed with oak, tan, black steel and greenery. The marble bar is still in place and now has a terracotta wine feature. By the way, if you're craving that fried chicken, you can still get it down the road at Llewylln and Hart's other, much-loved venue, The Gretz. Hartsyard is now open at 33 Enmore Road, Newtown. For more info, visit hartsyard.com.au. Images: Alex Mayes and Caroline McCredie.
Boy & Bear are kicking off the 'Old Town Blues' on their upcoming tour to perform after the 'Southern Sun' sets. Travelling by 'Arrow Flight' and 'Bridges', the Sydney boys will not be stopping at 'Percy Warner Park' but they will be enjoying 'Milk and Sticks' at the Enmore Theatre, a piece of 'Real Estate' they are no 'Stranger' to, on October 27 to provide all their fans with 'A Moment's Grace'. This is far from the 'End of the Line', with the band enjoying a 'Harlequin Dream' of a year. 'Lordy May' has it been big; they have played across the globe, allowing them to stay off the 'Feeding Line', and transformed any 'Part Time Believers' into full-time fans with the release of their critically acclaimed sophomore album. At only $44.80, you won't need to trade your 'Blood to Gold', so get out of 'The Village', leave the 'House and Farm' and step off the 'Beach' to join the 'Big Man', 'Mexican Mavis' and the 'Three Headed Woman' in singing 'Rabbit Song' and experiencing a night of glorious indie music more exciting than a 'Golden Jubilee'. (Writing a Boy & Bear preview primarily using only their song titles is much harder than it looks, okay.)
If spending more time indoors this winter has you craving all things sweet and comforting, that's understandable. As the world keeps reacting to the COVID-19 pandemic more than a year later, pining for sugar and whatever makes your tastebuds happy is a completely natural response. Enter San Churro's new range of winter snack packs, which are all about pairing its eponymous dish with other dessert favourites. Last year, the nationwide chain has launched a retro-influenced range of churro snack packs. This year, it's adapting the concept to include tried-and-tested sweet treats. So, each kit combines churros — aka long, thin, fried-dough pastries — with something else that'll get your mouth watering. Think: apple pies and s'mores. Each pack comes with mini churros, whichever other dessert is in the spotlight, and your choice of drizzled white, dark or milk chocolate. The apple pie version also includes vanilla ice cream, while the s'mores kit has both cookie butter s'mores and toasted marshmallows. There's a third variety, focusing on jam doughnuts, too — but, given their similarity to churros, they come solo, in balls, then topped with strawberry coulis, vanilla custard and strawberries. The new packs are available in-store now, including for takeaway; however, they're just part of the chain's new winter menu. It's also serving up hot chocolate bombs, but you have to consume them onsite — so, for now, Sydneysiders and Melburnians can't enjoy them during lockdown. What's a hot chocolate bomb? It's a ball of chocolate that comes filled with marshmallows, mini Oreos, or cocoa cereal and Milo. Again, you can choose between white, dark or milk chocolate — and then you pour hot milk over the top and get sipping. San Churro operates 13 stores in New South Wales, nine in Victoria and ten in Queensland, as well as 14 in Western Australia and three in South Australia. San Churro's new winter snack packs are available now. For further information, visit the chain's website.
J-horror fans, rejoice: Australia's Japanese Film Festival is back for 2023, and it boasts a couple of highlights for lovers of scary cinema. If you're a fan of Japan's contribution to frightening flicks, then The Forbidden Play is your first must-see. Behind the lens is Hideo Nakata, the director of 1998's iconic Ringu, aka the movie that helped spark a global obsession (and the American spinoffs, too). This time, the filmmaker tells of a son wanting to bring his mother back to life, so much so that he keeps chanting a resurrection spell that awakens something evil. This year's JFF isn't just about unsettling titles, but it does also feature Immersion, which hails from Ju-On: The Grudge director Takashi Shimizu (who also helmed the first US remake starring Sarah Michelle Gellar). In his latest effort, he's playing with grudges again, as well as traditional Japanese superstitions, virtual reality and a secluded island — which is never a good setting for a horror film. In Sydney, the 2023 festival arrives in October — and in two parts. One of the delightful aspects about this film festival is its two-pronged approach, giving both recent and retrospective titles their own time to shine. So, classics will get a spin at The Chauvel from Monday, October 23–Wednesday, October 25, then new releases at Palace Central, Palace Norton Street and Palace Verona from Thursday, October 26–Tuesday, October 31. Officially opening the event for 2023: We're Broke, My Lord!, a character-driven story about an unexpected inheritance from director Tetsu Maeda (And So the Baton Is Passed). From there, audiences can also look forward to the aforementioned to J-horror pictures; the animated Gold Kingdom and Water Kingdom; Citizen Kitano's tribute to actor, comedian and filmmaker Takeshi Kitano (Outrage Coda); and Yokaipedia, which is about three boys on a monster-filled quest. Fellow standouts include Yudo: The Way of the Bath, a comedy about bathhouse rituals; romance We Made a Beautiful Bouquet; Natchan's Little Secret, where three drag queens head to a funeral; and Single8, with director Kazuya Konaka's paying tribute to filmmaking before the digital era. And, in the special series — aka the fest's retrospective thread — post-war Japanese cinema figure Kо̄ Nakahira is in the spotlight. JFF will screen 1956's Juvenile Jungle and Milkman Frankie, 1957's Temptation, 1962's Danger's Where The Money Is!, and 1963's Mud Spattered Purity, as well as Flora on the Sand, Only on Mondays and The Hunter's Diary from 1964, plus 1965's The Black Gambler. Top image: © 2023 IMMERSION Production Committee.
Cockatoo Island's perennial Sunset Sessions are making a welcome comeback in 2023. For those who aren't familiar with the scenic gig series, the Sunset Sessions are held every Saturday on the lawns of Cockatoo Island's Biloela House to synchronise with the sun setting over the Sydney Harbour. So yes, it's a bona fide date night bonanza. In addition to one of the best views in town, you'll be treated to intimate open-air sets from a batch of talented up-and-coming Australian artists. The 2023 series will feature a diverse genre-spanning lineup that includes captivating Inner West troubadour Dominic Breen, angel-voiced singer-songwriter Huck Hastings, and R&B-pop purveyor Ashli. Scroll for the full artist lineup. [caption id="attachment_884826" align="alignnone" width="1920"] Singer-songwriter Sam Windley will kick off the Sessions on January 21.[/caption] Sunset Sessions take place 5pm-8pm every Saturday evening, kicking off from Saturday January 21 and running up until April 1. They're not just for the romantically inclined, either. It's also a family-friendly affair with free tickets for kids under 12. And if you really want to make a weekend of it, you can stay a night on Cockatoo Island in one of the many accommodation options on offer (which range from the budget BYO tent approach to deluxe waterfront glamping to the Harbour View Apartments located right near Biloela Lawn). Full artist lineup for the 2023 Sunset Sessions: 21 January - Sam Windley & Dominic Breen 28 January - Hayley Mary & Jordan Kenny 4 February - Carla Geneve & Lee Sullivan 11 February - Huck Hastings 18 February - Ashli & Ainsley Farrell 25 February - Kyoshi 4 March - Saint Barae 11 March - Lucy Parle & AODHAN 18 March - June Jones & Punko 25 March - Big Wheels 1 April - Teddie Sunset Sessions tickets are $35 each or free for children under 12.
Australia's theatre scene hasn't had much to smile about in 2020; however, before the year is out, some venues around the country will kick back into gear with a little help from their friends. Well, with Friends! The Musical Parody to be specific — with the comedic, song-filled satire of everyone's favourite 90s sitcom touring the country in November and December. Scheduled to kick off in Melbourne before being there for audiences in Brisbane, Perth, Adelaide and Sydney, Friends! The Musical Parody will spend time with Ross, Rachel, Chandler, Monica, Joey and Phoebe, of course. Here, they're hanging out at their beloved Central Perk — and sitting on an orange couch, no doubt — when a runaway bride shakes up their day. Call it 'The One with the Loving, Laugh-Filled Lampoon', or 'The One That Both Makes Good-Natured Fun of and Celebrates an Iconic Sitcom'. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. That said, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 16 years after it finished airing, including via an upcoming reunion special that'll gather the TV series' main cast back together. A hit in New York and Los Vegas, Friends! The Musical Parody was actually due to make its way around the nation from August–September, but then came the COVID-19 pandemic. If you already had a ticket for an earlier date, you'll be, contacted about the rescheduled dates. FRIENDS! THE MUSICAL PARODY AUSTRALIAN TOUR: Comedy Theatre, Melbourne: Wednesday, November 4–Saturday, November 7 Tivoli Theatre, Brisbane: Thursday, November 19–Saturday, November 21 Regal Theatre, Perth: Saturday, November 28 Her Majesty's Theatre, Adelaide: Friday, December 4 Riverside Theatres, Parramatta: Thursday, December 17–Saturday, December 19 https://www.facebook.com/friendsthemusicalau/photos/a.1094246727578341/1225756067760739/?type=3&theater Friends! The Musical Parody tours the country from Wednesday, November 4–Saturday, December 19. For further details, and to buy tickets, visit the production's website.
The 21st-century has not been kind to the vampire. Between Stephenie Meyer's sparkling high schoolers, the leather-clad killers of the Underworld series and whatever the hell those things in I Am Legend were meant to be, the once noble creatures of the night have been reduced by pop-culture to cringeworthy caricatures. Bela Lugosi must be turning in his grave. Enter Jim Jarmusch, director of Dead Man, Ghost Dog and Broken Flowers, to name just a few. One of the enduring figures of the American indie film movement, Jarmusch has made a career out of minimally plotted, post-modern genre subversions, and his latest work is no exception. Mixing traditional vampire mythology with the director's distinctively aloof brand of cool, Only Lovers Left Alive is a handsome, compelling, meditative take on the lives of the eternal undead. An appropriately gaunt and pasty Tom Hiddleston plays Adam, a centuries-old bloodsucker living on the outskirts of Detroit. A reclusive figure, Adam's only human contacts are a crooked hospital doctor (Jeffrey Wright) who provides him with fresh batches of O-negative, and a wide-eyed rock 'n' roll fan (Anton Yelchin) from whom the vampire buys vintage guitars. Aside from his music, the one thing Adam cares about is his wife, Eve (Tilda Swinton), with whom he is reunited not long after the movie begins. For a while, the immortal lovers live in peace, but their solitary existence is shattered by the arrival of Eve's impulsive younger sister (Mia Wasikowska). Read our full review of Only Lovers Left Alive here. Only Lovers Left Alive is in cinemas on Thursday, April 17, and thanks to Madman, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=ycOKvWrwYFo
It's true of every great arts festival lineup: pick three highlights from the program at random and a clear snapshot of the event's diverse array of experiences emerges. For a trio of picks from Sydney Festival's just-announced 2025 bill that does exactly that, turning the Harbour City's Town Hall into the wild west, exploring a true-crime case in an IRL courthouse, then getting Avatar, Titanic, The Terminator and Aliens filmmaker James Cameron chatting about shipwrecks all paint a clear picture. As it has done for 49 years now, this fest adores having something for everyone on offer. Just two years after Sydney Town Hall became an indoor beach complete with 26 tonnes of sand for the festival, the venue will transform into a pioneer settlement for Dark Noon, which builds its setting in real time as the audience watches on. A hit at Edinburgh Fringe, playing Australia exclusive to Sydney Festival and heading Down Under after a run in New York, the production from Danish director Tue Biering explores the power dynamics, race relations and colonial impacts inherent in its chosen chapter of history, all by subverting the wild west tropes established by cinema over the years — and with a South African cast. [caption id="attachment_977489" align="alignnone" width="1920"] Teddy Wolff[/caption] Also a standout on the full program, which'll pack Sydney with more than 130 shows and events from Saturday, January 4–Sunday, January 26, 2025: A Model Murder at the Darlinghurst Courthouse. Playwright Melanie Tait (The Appleton Ladies' Potato Race) and director Sheridan Harbridge (44 Sex Acts in One Week) aren't just recreating model Shirley Beiger's trial for shooting her cheating boyfriend — they're staging it at the same spot where it took place seven decades ago. For something completely different, one of the biggest names in blockbuster cinema is also on the Sydney Festival lineup, with James Cameron's experience in the water — including diving to earth's deepest point — the topic of conversation on the talks section of the bill. Or, still thinking about the sea, a giant whale is popping up in Bondi, courtesy of Spare Parts Puppet Theatre. The fest's 23-day run has a date with 43 different locations around town, ensuring that every corner of Sydney gets in on the action. One such location: Walsh Bay Arts Precinct, where The Thirsty Mile is returning as a hub featuring much to see by day and night. Think: free live music across 12 evenings, yoga classes, a heap of productions, public art and, for a beverage, the Moonshine Bar, where artist Telly Tuita is decking out the joint — as he's also doing with the SS John Oxley and via ten-room 'Tongpop' installation Colour Maze. Blak Out joins the favourites making a comeback, this time with Sydney Festival's Creative Artist in Residence Jake Nash curating the program. With Barangaroo Reserve as its base, this pivotal part of the fest includes Belvoir Theatre's Jacky, album launches for DOBBY and Radical Son, a woven canopy that'll host conversations, a celebration of Redfern's 70s-era National Black Theatre and more. [caption id="attachment_977492" align="alignnone" width="1920"] Tashi Hall[/caption] From there, the world premiere of Siegfried & Roy: The Unauthorised Opera, Sophocles' Antigone reimagined on the edge of the Amazon rainforest in Brazil and a twist on Shakespeare via Cliff Cardinal's As You Like It or The Land Acknowledgement should get your eyes glued to the stage. Also in the same category: Back to Back Theatre's Multiple Bad Things at Sydney Opera House, Opera Australia taking on Cendrillon (Cinderella), Christie Whelan Browne exploring her childhood. First Nations drag performer Miss Ellaneous honouring a simply-the-best icon with Tina — A Tropical Love Story and Greek mythology-inspired dance piece AFTERWORLD. Elsewhere on the bill, Rufus Wainwright is heading to town, William Yang's Milestone marks his 80th birthday, Katie Noonan is paying tribute to Jeff Buckley's Grace for its 30th anniversary, Wendy Whiteley's Secret Garden is hosting five gigs, the Future Frequencies bill is all about music up and comers such as Yaya Bey and Cash Savage and The Last Drinks, Sydney Symphony Under the Stars is back and audiences can take part in interactive dance piece Cowboy. [caption id="attachment_977485" align="alignnone" width="1920"] Dahlia Katz[/caption] "Sydney Festival has long held summer's cultural pulse and this year is quite the heartbeat. Stories of Oceania, destiny and what we leave behind through to bold explorations of utopia and dystopia, Sydney Festival 2025 promises an exhilarating and thought-provoking journey through the arts with exceptional talent at the reins," said Festival Director Olivia Ansell, announcing her fourth — and final — program. "This January, immerse yourself in a summer of unforgettable performances, groundbreaking new works, and exclusive experiences that reimagine the world around us." There's clearly a wealth of reasons to head along, whether you're a Sydneysider making the most of your own town or you're planning an interstate trip to kick off 2025 — and the fact that the fest is also doing $49 early-bird tickets across the entire program until early December is yet another. [caption id="attachment_977488" align="alignnone" width="1920"] Ben Lindberg[/caption] [caption id="attachment_977486" align="alignnone" width="1920"] Jeff Busby[/caption] [caption id="attachment_977487" align="alignnone" width="1920"] Bill Cooper / Royal Opera House / ArenaPAL[/caption] Sydney Festival 2025 runs from Saturday, January 4–Sunday, January 26 at venues across the city. For further details and to buy tickets from 9am AEDT on Wednesday, October 30, visit the Sydney Festival website.
Australia will soon get to see The Wind Rises (Kaze tachinu), the supposedly final work from Japanese animator Hayao Miyazaki (Spirited Away, My Neighbour Totoro), who based the film on his own manga comic of the same name. Set in Japan pre-WWII, the critically acclaimed animated drama follows the life of a young flight-obsessed engineer who designs Japanese fighter planes, a plot inspired by the real-life creator of the Mitsubishi A5M and A6M Zero, Jiro Horikoshi. As the highest grossing Japanese film of 2013, The Wind Rises also took out the Golden Lion at the Venice Film Festival. It sounds like a must-see for Studio Ghibli fans and aviation nerds, plus those keen to experience what sounds like the last film from a truly legendary animator. The film will play in Japanese and English, with respective subtitles. Its English language cast includes Joseph Gordon Levitt, Elijah Wood and Emily Blunt. The Wind Rises is in cinemas on Thursday, February 27, and thanks to Madman Films, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
The Carriageworks Unplugged + Uncomplicated sessions fill the last Saturday of every month with hours of free music. The venue already runs its own kitchen garden to stock the cafe, and for their second session of the year they're planting trees for your entertainment. Or entertaining you for the benefit of trees. As part of their ongoing mission to turn public entertainment into foliage, Music for Trees is putting on a full five hours of music. The event covers Carriageworks' cavernous foyer, letting you sit at the bar, eat at the cafe or simply dot yourself among the equally cavernous beanbags spread around the vaulted concrete space. Saturday's line-up features all-local artists, including the upbeat Liz Martin, guitar duo Tom Hespe and Rich Mason, Emad Younan, often harmonious Bhanglassi, James Brennan and the Brutal Poodles. If you like their sounds, you can donate something to Music for Trees, who'll change every dollar into funding for five seedlings in places where people can't afford to plant. So come to Everleigh and convert an afternoon of blissful sloth into a grove of beautiful saplings.
Just ten short months ago, seeing a new high-profile movie was a rather straightforward affair. When a big-screen release date was announced for a film, that's generally when it would hit theatres, perhaps with a few minor shifts here and there. But then, as we all know, the pandemic hit. Film release dates started being postponed and have kept up that trend, with big-name flicks pushing their openings back by around a year in some cases. And, recognising that the cinema industry mightn't return to normal worldwide while COVID-19 is still spreading, a few of those eagerly anticipated movies have been making the jump to streaming instead. Add Soul, Pixar's latest film, to the latter category. Instead of releasing in cinemas, it'll now head straight to Disney+ in December. If your Christmas plans usually involve lots of food and then some couch time, you'll be able to feast your eyeballs on the animation studio's new all-ages effort, as it'll hit the Mouse House's streaming platform on Friday, December 25. This isn't the first time that Disney, or even the Disney-owned Pixar, have taken this leap. Earlier in 2020, Pixar's Onward was moved to Disney+ once cinemas started closing down worldwide. Disney also sent terrible fantasy flick Artemis Fowl straight to streaming mid-year, as well as the phenomenal live recording of hit musical Hamilton. The same happened with its big-budget live-action version of Mulan, too, albeit with an added cost involved on top of the normal Disney+ subscription price. With Soul, viewers won't have to fork out anything extra, with the film available as a regular part of the streaming platform's catalogue. And if you're a big fan of Pixar's fondness for layering eye-catching imagery over a shared existential question — what it means to be alive and to feel, regardless of whether you're a toy, bug, monster, fish, superhero, car, rat, robot, dinosaur or emotion — this is clearly great news. As viewers can't help noticing, the animation powerhouse has been leaning into its favourite idea with plenty of force of late. Inside Out focused its attention on the emotions warring inside the heart and mind of a young girl, guiding her every thought, feeling and decision, while Coco drew upon the Mexican Day of the Dead, following a young boy as he wandered through the world beyond the mortal coil. Now, with Soul, Pixar looks to be borrowing from and combining parts of those two movies. It hones in on a school teacher who dreams of becoming a jazz musician, then falls down an open manhole and into a dark realm that looks rather like the afterlife. His titular essence is detached from his body, comes across a far more cynical counterpart and, in the process, starts wondering what it really means to have a soul. Jamie Foxx voices jazz-lover Joe Gardner, who is already musing on life's important questions — why is he here, what is he meant to be doing and what existence is all about — before his accident. Once he has tumbled down the manhole, he spends his time bantering with 22, voiced by Tina Fey. As well as whipping out a nifty cowboy dance, 22 doesn't think that life on earth is all that great. Audiences can expect to tag along on Joe's metaphysical journey, and to enjoy Foxx and Fey's comedic double act. The film also features the vocal talents of Questlove, Phylicia Rashad and Hamilton's Daveed Diggs, and boasts a score by Trent Reznor and Atticus Ross. And if you're wondering where the movie's central idea comes from (other than Pixar's back catalogue), writer/director Pete Docter started thinking about the origin of our personalities when his son was born more than two decades ago. Docter also helmed two of Pixar's big hits — and big emotional heavy hitters — in Up and Inside Out, nabbing Oscars for Best Animated Feature for both. Check out the trailer for Soul below: https://www.youtube.com/watch?v=xOsLIiBStEs Soul will start streaming on Disney+ on Friday, December 25, as part of the streaming service's regular subscription offering.
Billboards are traditionally known for their advertising, but in a world first, Peruvians prove they can offer an alternative function: producing water out of thin air. The University of Engineering and Technology in Lima, the second largest capital city in the world set on a desert, has developed this incredible billboard, which could improve the health of hundreds of citizens. The contraption contains generators that capture the air's humidity, which due to the lack of rain in the region is usually at 98 percent. This is then treated through air and carbon filters, condensed into purified water, and stored in tanks to be accessed by taps at the base of the billboard. Because so many people in the area source their (often polluted) water from wells, this potable water is a real help to the millions of residents of the city. The billboard produces 9450L water over a period of three months, which is enough clean water to cover the consumption of hundreds of families each month. The multifunction billboard does also advertise for the University that developed it — but then, this innovative, life-saving creation does warrant the right to brag just a little bit. Take a look at this video to find out more about how the billboard works and the effects it's had on the people of Lima. Via PSFK.
Surrounded by slabs of concrete, a neglected parking spot doesn't seem like the first choice to showcase an artist's latest collection. However, buried metres underground, a few innovative Sydney-based creatives had a classic light-bulb moment back in 2011. With just 5x5m of lifeless, grey cement and a burning desire to revive unused urban spaces, ALASKA Projects was born. For the fifth year running, photographer Samuel Hodge will be transforming this artist-run initiative with his most recent series, Skate or Die. In his usual offbeat style, Hodge's playful exploration of self and sexuality will come to life in one of Sydney's most unexpected and unassuming micro-galleries. Fresh from gallivanting around the likes of Berlin and Oslo for a string of multimedia projects, Hodge's return down under has seen his work take on a unique, worldly quality. ALASKA's one-of-a-kind design seems only fitting for an artist with an aesthetic as peculiar and distinctive as this. The exhibition opens on Wednesday, January 14, from 6-8pm. The gallery is then open on Saturday and Sunday 1-6pm or by appointment.
Unless you're Gene Kelly, there aren't too many of us that are happy when it rains. But that's the point of this collaborative exhibition hosted by craft bevvie curators MoCU and curated by the founder of the Alaska Projects, Sebastian Goldspink. Eight Australian artists, including Bridie Connell, Jason Wing, Kate Scardifield, and Lauren Webster, have been commissioned to create the works for the exhibition. "Each of the pieces being created is dark in tone but share a sense of light," Goldspink said, revealing the dichotomous nature of the artworks that highlight their own internal oppositions. This quality of internal dissonance, however, serves to show that there is a unifying characteristic of craftsmanship behind each piece. It's all about the craftsmanship for MoCU, too, who will be providing artisan wines and craft beer and cider matched to the artworks. Studio Neon head chef Aaron Teece will also be on-hand with a specially created canapé menu. Entry is $10 and includes a drink and a canapé.
Described as a "high-sensory experience," the latest exhibition from Argentinian artist Adrián Villar Rojas promises to have you seeing light and darkness in an entirely new way. The inaugural installation at Art Gallery NSW's former wartime oil bunker known as the Tank, The End of Imagination is powered by a maelstrom of code dubbed the Time Engine. It generates hypothetical scenarios across millions of years before filling the space with mindbending light sculptures inspired by said situations. In 2021, Rojas 'downloaded' the virtual sculptures and painstakingly recreated them in mixed media before transporting them across the world from his home country. Displayed in a pitch-black environment teeming with moving lights, Rojas' creations seek to answer environmental, socio-political and anthropological quandaries we haven't even yet begun to ask ourselves. Images: Installation view of Adrian Villar Rojas 'The End of Imagination' 2022 in the Tank at the Art Gallery of New South Wales © Adrian Villar Rojas, photo © Jörg Baumann
Here's a reality check: your career will likely span upwards of 40 years of your life. That's a long time spent at work. Given that empirical fact, ideally, you want to be in a position where you can actually get the most out of your job in terms of satisfaction, pay and its alignment with your personal goals. We have one word for you: upskill. Your working life is rarely one continuous upwards trajectory. Yes, there are successes — but, equally, there are slumps. One way to avoid these and pivot your way out of job stagnation is through targeted education. Taking a course related to your career goals helps you expand your realm of knowledge beyond your original training, keep up to date with the latest research and methodologies in your field, and show your present (and prospective) employers your ambition and drive for self-improvement. To help you do this, we've picked five university subjects with no prerequisites that you can take as one-off courses to help you get ahead in your job. PROGRAMMING: LEARN HOW TO CODE Digital skills! These are in increasing demand across a broad range of industries, from media and advertising to design and technology. Retraining is essential in today's world — technological changes are constantly challenging the basic skillsets required in the workforce, and there is always something new to learn. Keep up and adapt with RMIT's introductory programming course. You'll learn the basics of coding and sequencing as well as ethical considerations in programming. So when someone in the office needs someone to go in and tweak the website's code, you'll be able to smugly run to their aid. What's the subject? Introduction to Programming at RMIT. Enrol here. UX DESIGN: KNOW HOW TO CREATE A USER-FRIENDLY PRODUCT Demand for good UX (that is, user experience) designers is most definitely on the rise — it's something we use every single day. That's because UX designers create frontend designs for users that are attractive and functional — it's what makes apps like Instagram or Airbnb intuitive and useable. In this course, you'll learn the basics of UX design. Then, from there, you can experiment on your own or even opt to take on further study. Because this is a relatively new occupation, doing this course will give you the ability to differentiate yourself in an emerging area of expertise. Salaries depend on experience, but on the whole they're way above the national average, with senior UX designers earning up to $120,000 per annum. Not bad. But even if you don't become a UX designer per se, knowing the basics helps facilitate communication with any UX designers you hire or work with. Knowing what you're talking about cuts out unnecessary back and forth communication thanks to a shared language and will allow you to get the project done much quicker, saving you time and patience and your company money. What's the subject? User Interface and Experience Design at Curtin University. Enrol here. BUSINESS INNOVATION: GET THE KNOW-HOW TO TAKE YOUR BUSINESS TO THE NEXT LEVEL This course is a perfect booster if you work in an existing business, or if you're thinking of starting one on your own. You'll learn how to tackle business issues in a creative, innovative and — most importantly — practical way. Across the course you'll scrutinise real-world examples of innovation in the workplace that you can then apply to your own practice. You'll also learn how to pitch a concept (which we're going to say might be more useful than listening to episodes of StartUp). What's the subject? Innovative Business Practice with Swinburne University. Enrol here. PEOPLE MANAGEMENT: LEARN HOW TO FOSTER A THRIVING (AND DIVERSE) WORKPLACE If you work in HR or you lead a team or company, this one's for you. Equity and diversity are important principles getting a lot of airtime right now — and for good reason. The workplace only stands to benefit from diverse perspectives and bigger companies are constantly looking at how to create a more consciously egalitarian environment. If you know this is true but don't quite know how to put it into practice in an ethical and balanced way, this course should put you in a position to do so. It looks at the founding principles of HR management that will allow you to recruit, foster and maintain a happy, healthy, diverse and productive crew of colleagues. Anyone involved in recruiting and people management — and the companies they work for — only stand to gain from this training. What's the subject? Human Resource Management Principles with Griffith University. Enrol here. LEADERSHIP: BECOME A BOSS PEOPLE ACTUALLY LIKE If you want to increase your existing skills as a manager or are looking to be promoted through the ranks of corporate leadership, this course is a strong option. You'll learn about different team management styles and assess the varying ways that project teams can be structured. Relationship management and team development is absolutely vital in proving yourself as an effective team leader, and this course can help complement your at-work practical leadership experience. Essential stuff. Plus, if a promotion comes up, you'll be a prime candidate for the role. What's the subject? Project Leadership & Teams with University of South Australia. Enrol here. Start looking at all the subjects on offer online from leading Australian unis through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
It's no secret that staying active — and comfortable — while pregnant can be a bit of a struggle. Lifestyle brand Active Truth knows this all too well — it's run by two Brisbane mums, Stevie Angel and Nadia Tucker, after all. They've created award-winning maternity activewear that you can wear all day, every day throughout your pregnancy. Supporting women of all shapes, sizes and pregnancy stages, these leggings come in sizes small through 3XL and can be worn through every trimester, as well as post-natal. The duo created a compression fabric that provides secure support and is especially designed to help ease some of the pains and strains experienced during pregnancy. The tights will stay in place throughout your workout, too, and the compression fit assists in reducing leg swelling and soreness to boot. Available in black, dark navy and leopard print, the leggings range in four lengths, from bike shorts to full leg. Plus Active Truth products even come with pockets, so you can leave the house with nothing but your phone. The waistband can be worn up as high rise or as hip huggers and is flexible to fit all mums. If you're pregnant — or hoping to be in the near future — you can jump online now and grab a pair with the brand currently running a 20 percent discount on all orders (just enter ATMAMA20 at checkout). Active Truth also offers free express shipping worldwide — and uses compostable packaging, no less. Active Truth is currently offering 20 percent off all orders (enter ATMAMA20 at checkout) and free express shipping. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Why settle for a tree-house when you can have a tree-in-the-house? We're not talking about your average Christmas decoration, but four storeys of architecture wrapped around a living, adult-sized fir tree. This one may well call for a revision of our top ten tree-houses for grown-ups. A. Masow Design Studio have installed the invention in the Almaty Mountains, Kazakhstan. Cylindrical in shape, the tree-in-the-house features hardwood floors, a spiral staircase and glass walls and ceiling. A hole through the middle provides room for the trunk and branches, as well as a neat method for the disposal of organic waste. According to the designer, Almasov Aibek, the creation offers an immersive natural experience, encouraging us to "feel more fusion with nature and give up some unnecessary conditions and things", and to cultivate "spiritual and creative development ... It was to be a place where you could sit with a friend and discuss ideas and philosophise". A. Masow Design Studio's other visionary works include the isolated, solar-powered ImagineHouse; a minimalist loft in New York City; an energy-efficient art gallery on Manhattan; and a design centre for Astana, Kazakhstan. Via PSFK.
Family-friendly favourite Taronga Zoo is undergoing a midyear transformation this June, reimagining the zoo as a winter wonderland complete with pop-up food stalls, hot chocolate and an openair ice rink. That's what's on the agenda at Taronga's Frozen Zoo, which will kick off from Saturday, June 25 and run for the duration of the school holidays. Sydneysiders looking to get out and about this chilly season can head to Mosman for the zoo's 3500 animals, stunning city views and a spin around the ice rink. Set in front of the zoo's heritage gates, the pop-up rink is designed for all ages, from little skaters getting their footing on the ice for the first time through to adult skating aficionados. And with the zoo open daily until 8pm, the winter activities also offer an idyllic date spot for couples looking to mix things up from the regular dinner-and-movie night. The ice skating sessions will run for 45 minutes, with access to the rink ranging from $20–23. To access the Frozen Zoo, you don't need to buy a ticket to Taronga; however, if you want to head to both, you can package all your tickets together and score a discount. Alongside the winter activations, the zoo also offers a high ropes course and countless animal exhibits, including Taronga's two latest family members: Taro the tree kangaroo joey and Humphrey the koala joey. If you need some extra time to explore the place and you're looking for a one-of-a-kind staycation, Taronga is also home to a 62-room eco-retreat. The retreat is located in a sanctuary where koalas, wallabies, red kangaroos, echidnas and platypus live, so you can wander out to spot some at your own leisure, or else join a tour of the still-quiet zoo at sunrise. [caption id="attachment_816458" align="alignnone" width="1920"] Taro the Tree Joey, Guy Dixon[/caption] Frozen Zoo will run Saturday, June 26–Sunday, July 11, 10am–8pm seven days a week. Taronga Zoo is located at Bradleys Head Road, Mosman.
One scrap of detail sums up much about the new Superman reboot, Man of Steel: He doesn't wear underpants. The 75-year-old character's red underwear, worn on the outside, is among the silliest ensembles ever dreamed up, but it's also iconic. To take on the role of Superman is sometimes called 'donning the red underpants' for that reason. The modern Superman interpreter can go one of two ways with this: 1. Keep the red undies, finding a self-aware spin on old anachronisms (we'll call this the 'Marvel way'), or 2. Ignore the undies, because contemporary superheroing is serious business (aka the Dark Knight way). So when you see Henry Cavill on the promo posters, looking pretty and pumped and decidedly sans contrast knickers, you should have a fair idea of what kind of Superman you're in for. And sure enough, it's Dark Knight's Christopher Nolan and David S Goyer who are behind this story, along with director Zack Snyder (Sucker Punch, Watchmen). The costume is not the only beloved bit of camp that's gone: this Clark Kent is not yet trying to keep up his dorky cover as a Daily Planet reporter, and this Lois Lane (Amy Adams) won't be unable to recognise him just because he puts on some specs (that last change, at least, is way overdue). Of the sprawling Superman mythos, Man of Steel tries to fit in the origin story and the bit immediately after. It opens on Krypton, as the planet is being torn apart following the over-mining of its natural resources (relevance!). General Zod (Michael Shannon) has also chosen this time for a military coup. Baby Kal-El's father, Jor-El (Russell Crowe), and mother, Lara (Ayelet Zurer), save him — and, with him, they hope, Kryptoniankind — by putting him on a shuttle bound for Earth. We next see Kal-El as a young man, drifting around the globe trying to find clues as to his real identity. In a spaceship buried in the Arctic, he finds the answers, recounted to him in detail by a hologram of his father. It's all ready-made, including his suit, and the film quickly moves on to its bulkier second part: The hero working out whether his place is with the human or the alien. And General Zod is on his way back from the Phantom Zone to help with that quandary, by invading Earth. Ahead of the screening, I thought there was no way the Dark Knight approach could work for Superman. Or any approach, nearly; he's a hard character to make interesting. He's not conflicted, he doesn't have a dark side and he's not funny. He's never going to have a battle 'with himself' or one that's morally ambiguous. His powers are perfect. He has no hubris. Like Captain America, he's just kinda lame. As it happens, the team does surprisingly well with portions of the material. They find an involving moral question without descending into darkness, and their 'scientific' explanations of a lot of the mythology work well. Cavill is super-handsome but also reasonably charismatic, which is the more important draw. In many ways, this is the strongest Superman reboot for a long time. Unfortunately, the story manages to be both rushed and overlong — because Clark finds the tell-all hologram in 30 minutes, there is no sense that he's struggled. The pace, afterwards, is flat. But Man of Steel has a bigger problem: director Snyder has no taste. Again and again, he's come up with some amazing visual styling and action sequences, but he doesn't know when to say stop. When to pull back. The fight scenes between super-strong characters, who destroy rows of buildings with a single punch, are repeated to the point of exhaustion. The final battle should have been two battles earlier. Lois isn't a 'strong female character'; she's superhuman herself. Exposition is heavy. It's all very loud. So there you go: a Superman with both strengths and weaknesses. It's rumoured an Avengers-style team-up of dour DC heroes will follow, which isn't hugely thrilling. But with his own sequel, this Man of Steel could yet firm up. https://youtube.com/watch?v=T6DJcgm3wNY
How great is this party? If you've watched the first season of Apple TV+'s The Afterparty, you'll know that that statement applies in multiple ways. It's part of a song within the sleuthing series. Also, one of its on-screen figures believes the phrase sums up an entire genre of tunes, aka party bangers. And, it's also a great way to describe the whole show so far, which is indeed ace. The team at Apple's streaming platform clearly agree with the latter, too — because they've just renewed the star-studded murder-mystery program for a second season. And if your inner investigator is wondering how that'll work given that The Afterparty's first run of episodes, which just wrapped up on Friday, March 4, felt self-contained, we have two words for you: Detective Danner. That's the character played by Tiffany Haddish (The Card Counter), and she'll be back for season two. While she had top-notch company the first time around — a killer cast that also included Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk), Jamie Demetriou (The Great) and John Early (Search Party) — this time she'll be poking into a new case, so you can likely expect a whole new roster of names to join her. Presumably, some sort of afterparty will still remain part of the concept — unless there'll be a change of name. If you haven't yet watched the first season, it's set at an afterparty (obviously) at obnoxious autotune-abusing pop star Xavier's (Franco) lavish mansion following his 15-year high-school reunion. When he winds up dead, everyone is shocked but no one is overly upset, which gives the determined Danner plenty of suspects. Of course, while the settings change, and the motley crew of characters involved as well, plenty of whodunnits share the same premise. Take a ragtag group of folks, pop them all in the same spot, kill one off and then start asking questions — that's it, that's the formula. It works for boardgame Cluedo, it worked for Agatha Christie and her lengthy list of Hercule Poirot novels and stories, and it's also been behind everything from Knives Out and The Translators to Only Murders in the Building in the past few years. So, letting The Afterparty have another run at it should be easy for writer/director Christopher Miller (The Lego Movie). Exactly when The Afterparty's second season will arrive, who'll be getting killed and which other recognisable faces will star haven't yet been revealed. For now, keep your fingers crossed for another batch of episodes that twist in its their own directions, tell their tale with flair and approach the show's overall idea with a savvy sense of humour. Check out the trailer for The Afterparty below: The first season of The Afterparty is available to stream via Apple TV+. Read our full review. We'll update you with details about the second season's release date when it's announced.
Today marks the last day of Dark Mofo and, for those of us on the mainland, this means today is the last day our social media news feeds are bombarded with Tasmanian whimsy. Over the past few days you may have asked yourself what this congregation of lights and bearded men actually is. You may have wondered what kind of wizardry has conjured all this neon and Hogwarts-esque feasting, and how you can become a part of it. Well, we've scoured our Instagram feeds and compiled a handy outsiders' guide for you. Organisers may declare the festival a celebration of "large-scale art, food, music, light and noise," but we feel it's best summed up by the following. Here's what went down at Dark Mofo 2014: People spent their time washing ice This was probably the most confusing thing that's popped up in your feed over the past few days. In an act of — let's face it — supreme futility, Mofo-goers have been caught this year scrubbing a large tower of ice (although we guarantee they didn't keep it up for long once the photo had been uploaded). Watching this ice slowly, slowly erode into separate smaller blocks has been like a deeply unsatisfying game of Tetris played in reverse. Explanation: It's actually an artwork by Chinese artist Yin Xiuzhen. After freezing water from the Derwent River, Xiuzhen asked festival patrons to scrub the dirty water clean. It's a symbolic act that she terms an artist's solution to pollution. This radioactive bunny made its way down from Sydney Tasmania has stolen Sydney's giant neon bunny rabbit! How rude. You probably recognise this critter from your jaunts down to Vivid Sydney earlier this month. It's the kind of thing that definitely sticks in your mind (and your Instagram feed, for that matter). Because of this, Sydney-siders really can't be too jealous of its presence at Dark Mofo. But, for everyone else across the country, this is the holy grail of public art and the number one cause of jealousy. I maintain that if I got one hug from this amazing bringer of joy, at least half the problems in my life would be solved. Explanation: The bunny is the work of Tassie artist (and Sydney expat) Amanda Parer. We can neither confirm nor deny that it's radioactive, but we can say that it's maybe the greatest thing we've seen for awhile. There was a cat shooting laser beams from its eyes We can't even. This needs all of the explanations. Explanation: Disappointingly, we can't find out much about this little treasure. From the almighty power of hashtags we can deduct it has something to do with Dj Kiti playing at the festival club Faux Mo on Saturday night. We don't know how big the cat was. We don't know how strong its powers are. We don't know what it wants from us. We do however know that it's maybe the most mesmerising thing we've seen since Hypnotoad and we feel strangely compelled to obey it. If you know more, please get in touch! It's a good place to be if you like to feast From all the photos of mood-lit dining halls and opulent dinners, we can only reasonably deduct that Dumbledore and/or representatives from Hogwarts School of Witchcraft and Wizardry have made their way to Tasmania. Sure, there are no ghosts flying around, but the twigs cascading from the ceiling do look suspiciously like broomsticks and the feast speaks for itself. Explanation: This is more or less right. The Winter Feast is one of the hallmarks of the festival and consists of a "three-night Bacchanalian banquet of feasting and fire, drinking and celebration, music and performance". Apparently there were some problems with capacity this year, but with the amazing spread on offer it's easy to understand why. Everyone got naked for some reason It's a strange thing to wake up to as you check your phone, but this morning we were treated to the sight of hundreds of bums along a beautiful beach at sunrise. Accompanying them (on what looked like a freezing morning) were a couple of old men in beanies shooting orange smoke into the air because, hell, why not? Explanation: This nude run into the water was in fact to commemorate the winter solstice. It's an annual event at Dark Mofo that's now in its second year. And, despite the unpleasant temperature, this year saw 700 people get on board! We're going next year Confusing art, giant animals, laser beams, opulent feasts, and reckless nudity — why is it that we don't live in Hobart, again? Photo credits in order of appearance: jackjesta, melfiddles, angela__g, katesaunders002, chdaku, rosiehastie.
Cinemas are glorious. There's nowhere better to see a movie. When you're watching a film in the cosy confines of a darkened room, communing devotedly with the projected picture flickering before your eyes, that viewing experience simply can't be beaten. But hitting up your streaming queue instead isn't just for filling time on the couch or catching up on flicks you might've missed on the big screen. And, features that don't get a theatrical run shouldn't be stigmatised by the 'direct-to-streaming' label. Thanks to the ever-growing array of online viewing options, movie buffs can now see more new movies than ever before. Smaller flicks that were never going to reach cinemas, international favourites that would only screen at festivals Down Under otherwise, new releases by big-name filmmakers not getting funding elsewhere: they've all been making their way to us thanks to streaming. In 2022, that online-only roster of features dropped new must-see titles every single month, and came overflowing with fantastic fare. Back in July, we picked the best 15 straight-to-streaming films of 2022's first six months. Now, with a whole year behind us, we've cast our eyes of the entire 12-month period. As a result, we've already sung the praises of some of our overall top 15 straight-to-streaming gems for 2022 — but the very best deserve all the love all the time. Catch up with them from your couch ASAP. KIMI For the second year in a row, Steven Soderbergh has made one of the year's best movies and it has completely bypassed Australian cinemas. Unlike 2021's No Sudden Move, however, Kimi was always destined for streaming. The latest in his series of paranoid thrillers that also includes Contagion, and once again female-fronted as Haywire, Side Effects and Unsane were too, this Zoë Kravitz-starring standout takes its cues from smart devices, humanity's increasing dependence upon technology, and the kinds of events that a virtual assistant like Siri, Alexa or Google Assistant might eavesdrop on. As a result, Soderbergh has crafted another movie that riffs on a growing area of real-life interest, then turns it into a tense, potent and devilishly smart feature. A bonus: focusing on a protagonist who doesn't feel safe leaving her house, Kimi couldn't better capture how the pandemic has felt without overtly needing to be a COVID-19 film. Kravitz (The Batman) plays Angela Childs, who works for Seattle-based tech corporation Amygdala from the comfort of her own sprawling loft — and from her own audiophile's dream of a computer setup — listening to snippets of conversation captured by smart speaker Kimi for quality assurance. In one clip, she hears what she believes to be a horrible crime and is compelled to follow up; however, her bosses aren't thrilled about her probing. Complicating matters: after being the victim of an assault a couple of years earlier, Angela suffers from anxiety and agoraphobia, making leaving the house to investigate a fraught task. As he did to particularly stellar effect in Unsane as well, Soderbergh styles his latest psychological thriller after its protagonist's mindset, making unease and suspense drop from every aesthetic choice — camera angles and placement, jittery frames and a voyeuristic perspective all included. Kimi streams via Binge. ATHENA When a director uses a single take for a lengthy sequence, an episode of television or an entire film — even with some editing trickery to help — it usually isn't just a gimmick. As everything from The Bear to 1917 have shown, there's urgency and immediacy in that stylistic approach. Given that Athena plunges into a powderkeg situation in a French neighbourhood that shares the movie's moniker, with the banlieue's residents understandably incensed after the brutal killing of a teenager from their midst by law enforcement, this latest stunner from writer/director Romain Gavras (after the excellent The World Is Yours) was always going to feel unrelenting, inescapably tense and utterly in-the-moment anyway. See also: 2019 French Oscar-nominee Les Misérables, similarly about the response to police violence, which was penned and helmed by Athena's co-screenwriter Ladj Ly. Still, the unbroken shot that opens Gavras' latest spectacular film is up there with 2022's best in any feature. Long takes pop up often in Athena, which starts with French soldier Abdel (Dali Benssalah, No Time to Die) confronting the fact that his 13-year-old brother Idir (first-timer Mohamed Amri) is dead — and, as seen in online footage, that the cops are responsible. He's managing to keep calm, however, until another of his siblings Karim (debutant Sami Slimane) throws a Molotov cocktail inside a crowded police station. Cinematographer Matias Boucard (Eiffel) captures it all without looking away, and keeps doing the same as they return home, with Athena soon under siege as the authorities swarm in and the home crowd explodes with anger. Even when edits come, this is an unflagging and unflinching feature, as aided by close-up and handheld camerawork, impassioned performances, its topical storyline and staggering action cinematography. Athena uses its aesthetics to make a statement, too, about race, power and inequality — and it firmly knows that this tale can only be a tragedy. Athena streams via Netflix. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. GREAT FREEDOM Great Freedom begins with 60s-style video footage captured in public bathrooms, showing Hans Hoffmann (Franz Rogowski, Undine) with other men, and with court proceedings that condemn him to prison purely for being gay. That was the reality in West Germany at the time due to Paragraph 175, which criminalised homosexuality — and, when he's incarcerated at the start of this equally tender and brutal Austrian film, Hans isn't surprised. He's been there before, as writer/director Sebastian Meise (Still Life) conveys almost like he's chronicling time travel. It's a canny touch, as relayed in the movie's cinematography, editing and overall mood. The minutes, days, hours, weeks and more surely move differently when you've been locked up for being who you are, and when being in jail is the better alternative to being in a concentration camp. Meise jumps between Hans' different stretches, exploring the imprint all that time behind bars leaves, the yearning for love and freedom that never dissipates, and his friendship with initially repulsed fellow inmate Viktor (Georg Friedrich, Freud). In the process, Great Freedom resounds with intimate moments and revealing performances, as anchored by another stellar turn by Rogowski. The German talent has had an outstanding few years thanks to Victoria, Happy End, Transit, In the Aisles and Undine. He's as absorbing as he's ever been here, too, in a movie that stares his way so intently — and with such a striking sense of light and shade — that it could be painting his portrait. Friedrich is just as impressive, in an outwardly thorny part. Great Freedom streams via SBS On Demand. RESURRECTION Another year, another engrossing thriller starring Rebecca Hall. Another film giving the English actor a new standout performance for her packed resume, too. After proving remarkable in 2021's The Night House, and also turning director with the marvellously moving Passing, Hall plays a woman virtually synonymous with tension in the sleek and twisty Resurrection. Even when her character, Margaret, is calm and empathetic at her job in pharmaceuticals, including while counselling her junior colleagues, unease flickers in her haunted eyes and rigid posture. When she's fussing over her almost 18-year-old daughter Abbie's (Grace Kaufman, The Sky Is Everywhere) comings and goings, such as soon leaving for college, Margaret comes off as overprotective — but with a tormented edge. Resurrection lingers in this feeling, teasing out the details behind it while also making it plain that constantly being on guard can be a reality thanks to traumas and simply life. Indeed, thanks to his ambiguous tale, writer/director Andrew Semans (Nancy, Please) ensures that that sensation remains even when Margaret's demeanour and behaviour gets an explanation. If a human tooth suddenly showed up in your daughter's wallet, an eerie man from your past (Tim Roth, Sundown) re-emerged after two decades and the worst pain you'd ever experienced was drudged up again, you'd find it impossible to remain composed and collected, too. As Resurrection thrusts Margaret through her own personal horror show, it isn't concerned with simply showing a woman unravelling — rather, it focuses on a woman pushed to her limits by tragedy, malevolence, manipulation and one helluva toxic man. Semans's knack for crafting a skin-crawlingly unsettling atmosphere is immense, and so is his willingness to take gloriously unhinged swings and his talent for casting. It's no wonder that the film can barely look away from Hall, who is stellar from start to finish but next-level astounding during a lengthy monologue and a big confrontation. And as for Roth, creepy doesn't even begin to describe his work here. Resurrection streams via Google Play, YouTube Movies, iTunes and Prime Video. CAUSEWAY Trauma is a screenwriter's best friend. If on-screen characters didn't have past stresses to overcome or new hardships to cope with — usually both — then dramatic scripts would barely last a few pages. Neither would horror flicks, or thrillers, or plenty of comedies; however, few films are happy to sit with trauma in the way that (and as well as) Causeway does. Starring Jennifer Lawrence (Don't Look Up) as a military veteran sent home from Afghanistan after being blown up, working her way through rehab and determined to re-enlist as soon as she has medical sign-off, this subtle, thoughtful and powerful movie grapples with several stark truths. It knows that some woes do genuinely change lives, and not for the better. It's well aware that many miseries can't be overcome, and completely alter the person experiencing them. It's keenly cognisant that that simply existing can be a series of heartbreaks, and escaping that cycle can be the most powerful motivator in the world. And, when Atlanta and Bullet Train's Brian Tyree Henry enters the picture as a New Orleans mechanic with his own history, it sees the solace that can be found between people willing to face their tough realities together. When Causeway begins, Lawrence's Lynsey is freshly out of hospital, and learning how to walk, dress, shower, drive and do all other everyday tasks again. Even then, she still wants to redeploy. Directed by feature first-timer Lila Neugebauer (The Sex Lives of College Girls), and penned by fellow debutants Ottessa Moshfegh, Luke Goebel and Elizabeth Sanders, the film spies the determination in its protagonist's eyes — and the pain she's trying to bury after she goes home to stay with her mother (Linda Emond, The Patient), gets drawn into old unhealthy dynamics, but finds a friend in Henry's kind, eager but haunted James. There's no cross-country drive with a canine, if the similarly themed Dog comes to mind, but rather a willingness to steep in Lynsey and James' complicated emotions. Neugebauer has the perfect central duo for the movie's key parts, too; neither Lawrence nor Henry's resumes are short on highlights, acclaim or award nominations, but their respective textured, naturalistic and deeply felt performances in Causeway ranks among each's best work. Causeway streams via Apple TV+. FRESH Finally, a film about dating in the 21st century with real bite — and that's unafraid to sink its teeth into the topic. In this hit Sundance horror-comedy, Normal People's Daisy Edgar-Jones plays Noa, and once again gets entangled in a romance that'll leave a mark; here, however, the scars aren't merely emotional. Swiping right hasn't been doing it for Fresh's protagonist, as a comically terrible date with the appropriately named Chad (Brett Dier, Jane the Virgin) demonstrates early. Then sparks fly the old-fashioned way, in-person at the supermarket, with the curiously offline doctor Steve (Sebastian Stan, Pam & Tommy). Soon, he's whisking her away to a secluded spot for the weekend — a little too swiftly for Noa's protective best friend Mollie's (Jojo T Gibbs, Twenties) liking, especially given that no one can virtually stalk his socials to scope him out — and that getaway takes a savage and nightmare-fuelling twist. If Raw met Ex Machina, then crossed paths with American Psycho and Hostel, and finally made the acquaintance of any old rom-com, Fresh still wouldn't be the end result — but its tone stems from those parts, as do some plot points and performances, and even a few scenes as well. First-time feature director Mimi Cave doesn't butcher these limbs, though, and screenwriter Lauryn Kahn (Ibiza) doesn't stitch them together like Frankenstein's monster. As anchored by the excellent Edgar-Jones and Stan, there's care, savvy, smarts and style in this splatter-filled, satirical, brutal, funny, empowered and sweet film. Its twists, and its cutting take on predatory dating, are best discovered by watching, but being turned off apps, men and meat in tandem is an instant gut reaction. Fresh streams via Disney+. COW As its name so clearly explains, Cow devotes its frames to one farmyard animal — and it's one of the most haunting films of the past few years. It's the third feature to take its title from a four-legged critter in the past two years, after the vastly dissimilar Pig and Lamb. It's also the second observational documentary of late to peer at the daily existence of creatures that form part of humanity's food chain, following the also-exceptional Gunda. And, it also joins 2013's The Moo Man in honing its focus specifically upon dairy farming, and in Britain at that. But the key to Cow is Andrea Arnold, the phenomenal filmmaker behind Fish Tank, Wuthering Heights, American Honey and the second season of Big Little Lies. She sees Luma, her bovine protagonist, with as much affection and understanding as she's ever seen any of the women who've led her projects. While watching, viewers do as well. Starting with the birth of Luma's latest calf — and, in the beginning, taking detours to see how it's faring as well — Cow unfurls with the rhythm of its agricultural setting. It's the rhythm of Luma's life, too, as she's milked and fed, moos for the offspring that's taken away too quickly, and is soon impregnated again. There's no doubt where the documentary is headed, either. There's simply no shying away from the fact that Luma and cattle like her only exist for milk or meat. Without ever offering any narration or on-screen explanation, Arnold stares at these facts directly, while also peering deeply into its bovine subject's eyes as often as possible. The result is hypnotic, inescapably affecting, and also features the best use of Garbage's 'Milk' ever in a movie. Cow streams via DocPlay. I'M YOUR MAN Since 2013, any film that's involved making an emotional connection with artificial intelligence has brought Her to mind. Since 2014, any movie about human-android relationships has conjured up Ex Machina as well. And, since 2007, any flick that focuses on the companionship that a lonely human soul might find in an artificial companion has walked in Lars and the Real Girl's footsteps, too. In smart, perceptive and warmly humorous German gem I'm Your Man, however, it's a woman who is opening her life to a male presence — an AI-run robot designed to be her perfect match — and she's not too happy about it. Archaeologist Dr Alma Felser (Maren Egger, I Was at Home, But) is merely and begrudgingly testing out the technology that brings Tom (Dan Stevens, Eurovision Song Contest: The Story of Fire Saga) into her life, for three weeks at the behest of her boss at Berlin's Pergamon Museum, and solely for the good of science. I'm Your Man is a rom-com, which means exactly what viewers think it does going in: that Alma slowly starts rethinking her position on Tom. But that's about the only aspect of this thoughtful, witty and yearning exploration of what it means to be human and to truly connect that does what's expected. Fresh from winning an Emmy for directing Unorthodox — and making this before helming She Said — German filmmaker Maria Schrader helms a charming and insightful take on what's beginning to be an oft-considered topic, and is unpacked in a moving and delightful way in her hands. Her film is also extremely well cast, with Egger thoroughly deserving her 2021 Berlinale Silver Bear for Best Acting Performance as Alma, and Stevens pitch-perfect as the supposed robotic man of her dreams — who just wants love himself. I'm Your Man streams via Binge. NANNY In Nanny, Aisha (Anna Diop, Us) is haunted, both when she's asleep and awake. Her slumbers are disturbed by nightmares, but seeing rising waters and unwelcome spiders isn't just relegated to when the Senegalese woman in New York closes her eyes. A gut-wrenching sense of unease also lingers while she works, after securing a childminding job for rich Upper East Side residents Amy (Michelle Monaghan, Echoes) and Adam (Morgan Spector, The Gilded Age). Their five-year-old daughter Rose (Rose Decker, Mare of Easttown) adores Aisha — more than her parents, it often seems. And, the nannying gig helps Aisha distract herself from missing her own son, who she's desperately trying to bring over to the US. She's haunted by his absence, too, and by the stolen snippets of conversation she gets with him on the phone, constantly juggling the time difference. The supernatural disturbances plaguing Aisha and her feelings about leaving her child in Senegal to chase a better future for them both are clearly linked, although Nanny is atmospheric and insightful rather than blunt and overt. The first horror film to win Sundance Film Festival's Grand Jury Prize, this evocative effort hails from writer/director Nikyatu Jusu, who makes her feature-length debut with quite the calling card. 2022 isn't short on affectingly moody and evocative female-focused thrillers with a maternal bent — see: Resurrection above, which also debuted at Sundance — but Nanny's addition to the fold is deeply steeped in Aisha's immigrant experience. Thanks to all that otherworldly water, it feels like it's always steeping, in fact, soaking in the troubles and struggles of trying to snatch even a piece of the American dream when you're not wealthy, white and originally from the so-called land of the free. Also prominent: the dispiriting minutiae of Aisha's day, aka exactly what she has to endure to even have a chance of gaining what comes easily and obliviously to her employers. Like its central figure, Nanny is haunted several times over, too. Nanny streams via Prime Video. PREY No stranger to voicing iconic lines, Arnold Schwarzenegger uttered one of his best-known phrases yet 35 years ago, in a franchise that's still going today. "If it bleeds, we can kill it" has been quoted frequently ever since — even by champion AFL coaches — and it's no spoiler to mention that it pops up again in the latest Predator film Prey. Trotting out that piece of dialogue won't surprise anyone, but this fine-tuned action-thriller should. It's one of the saga's best entries, serving up a lean, taut and thoughtful kill-or-be-killed battle set in the Comanche Nation 300 years ago. The Predator series hasn't been big on highlights over the years — Predator 2 is forgettable to put it nicely, 2010's Predators is effective, 2018's The Predator favoured its throwback vibes above all else, and the two terrible Alien vs Predator cross-over films are best left forgotten — however Prey not only breathes new life into it, but paves a welcome path for more. (Bring on a Prey sequel ASAP.) The overall premise remains the same, with the franchise's ruthless, brutal and technologically advanced alien species using earth as its hunting ground as the series has already established — and showing zero concern about leaving a body count. Trained healer Naru (Amber Midthunder, The Ice Road) is the first to notice that something is awry this time, spotting the predator's spaceship in the sky and taking it as a sign to follow her dream to become a hunter herself. Alas, that isn't the done thing. In fact, she's spent her entire life being told that she can't be like her brother Taabe (first-timer Dakota Beavers), and should focus on her assigned role instead. Now, even with an extra-terrestrial foe wreaking havoc, she's still dismissed at every turn. Midthunder plays Naru as a fierce, determined, persistent and resourceful force to be reckoned with, while writer/director Dan Trachtenberg — co-scripting with Jack Ryan's Patrick Aison — gives all things Predator the taut focus, canny shift and fresh feel he also gave the Cloverfield saga with 10 Cloverfield Lane. Prey streams via Disney+. HELLBENDER Meet the Adams family — no, not the creepy, kooky, mysterious and spooky characters that've featured on pages and screens for decades (including in 2022 newcomer Wednesday, plus two terrible recent animated flicks), but the filmmaking collective comprised of couple Toby Poser and John Adams, plus their daughters Zelda and Lulu Adams. The quartet might be missing a letter from their well-known counterparts' names, but they're just as fond of all things horror. Case in point: their second feature Hellbender, a self-financed standout that's both a spellbinding tale of witchcraft and a clever coming-of-age story. It starts in a house in the woods, and also spends most of its time there. It includes the arrival of an unexpected stranger, shattering the status quo. But formulaic and by-the-numbers, this must-see isn't. In making first-rate use of its setting, and of a cast that's primarily comprised of Adams family members, it's also a masterclass in lockdown filmmaking. In the most expected aspect of Hellbender, the film's name does indeed refer to a punk-metal band, with 16-year-old Izzy (Zelda Adams, The Deeper You Dig) and her mother (Toby Poser) its sole members. No one else has ever heard them play, either, given that Izzy is both homeschooled and confined to the family's sprawling mountainside property, as she has been since she was five. Her mum tells her that she can't venture into town or around other people due to a contagious autoimmune disease; however, when a lost man (John Adams) wanders their way and mentions that his teenage niece Amber (Lulu Adams) lives nearby, Izzy gets the confidence to go exploring. As both written and directed by three out of four Adams family members — all except Lulu — Hellbender proves an impressive supernatural affair from its opening occult-heavy prologue through to its astute take on teen rebellion. Here's hoping this Adams family spirits up more DIY horror delights soon, too. Hellbender streams via Shudder. APOLLO 10 1/2: A SPACE AGE CHILDHOOD In 1969, the year that Apollo 10 1/2: A Space Age Childhood is set, writer/director Richard Linklater was nine years old and living in Houston, Texas. This lovely animated film happens to follow a boy around the same age in the same city — and trust the filmmaker behind Boyhood, Dazed and Confused, and the glorious trio that is Before Sunrise, Before Sunset and Before Midnight to make viewers who weren't there then (who weren't even alive and have never been to America, too) to feel as nostalgic about the place and era as he clearly does. As narrated by his Bernie and The School of Rock star Jack Black, the film's entire middle section dances through memories of the time and city with infectious enthusiasm, but its biggest dose of affection radiates towards the technological promise of the 60s. The Mercury, Gemini and Apollo missions were rocketing into space and it patently felt like anything was possible, a sensation so marvellously captured in each second of Apollo 10 1/2. Jumping back into the rotoscoped animation that served Linklater so well in Waking Life and A Scanner Darkly, this loving ode to years and moods gone by also sports a delightful premise. As his older guise (Black) explains, young Stan (debutant Milo Coy) was an ordinary Houston kid with a NASA-employed dad (Bill Wise, Waves), doting mum (Lee Eddy, Cruel Summer) and five older siblings when he was approached by two men (Shazam!'s Zachary Levi and Top Gun: Maverick's Glen Powell) to help them with a problem. In the lead up to Apollo 11, it seems that NASA accidentally built the lunar module a couple of sizes too small, so they need a kid — Stan — to help them by going to the moon to test things out before Neil Armstrong, Buzz Aldrin and Michael Collins make their famous trip in a bigger version. That fantastical idea feels ripped from Linklater's childhood dreams, and it well might be; it also makes for a warm and charming entry point into a movie that's as much about life's ups and downs, the bonds of family and the wide-eyed optimism of youth as it is about heading to space. Apollo 10 1/2: A Space Age Childhood streams via Netflix. ASCENSION Ascension may not be one of this year's Oscar-winners, losing out to the also fantastic Summer of Soul (...Or, When the Revolution Could Not Be Televised), but it'll always be among 2022's nominees. More than that, this two-time Tribeca Film Festival winner will forever remain one of the most arresting documentaries of the past 12 months as well. Helming her first feature-length doco, filmmaker Jessica Kingdon turns her gaze to the Chinese dream — and what she sees, while situated in a very specific cultural context by design, is a clear and easy sibling to its American counterpart. That's part of the statement her film makes, all just by watching on patiently but meticulously as people go about their lives. Starting with factory recruitment on the streets, then moving into mass production, then climbing the social hierarchy up to the rich and privileged, Ascension explores employment and consumerism — and what they mean in an everyday sense in modern-day and modernised China. It's a portrait of the needs that make working on assembly lines a necessity, and of the dreams that inspire every climb, rung by rung, up the societal ladder. Some folks build sex dolls, their uncanny valley-esque forms adding an eerie mood. Others take lessons on etiquette for service jobs, including about not letting your face betray your emotions, and the tone is also unsettling. Observational to a mesmerising degree, Kingdon's exceptional film lets its slices of life and the behaviour, attitudes and patterns they capture do the talking, and they all speak volumes. Indeed, what a clever, telling, incisive and surreal story they unfurl. Ascension streams via Paramount+. TURNING RED What'd happen if the Hulk was a teenage girl, and turned into a giant, fuzzy, super-cute red panda instead of going green and getting ultra-muscular? Or, finding a different riff on the ol' werewolf situation, if emotions rather than full moons inspired a case of not-quite-lycanthropy? These aren't queries that most folks have thought of, but writer/director Domee Shi certainly has — and they're at the core of Pixar's Turning Red, her debut feature after winning an Oscar for 2018 short Bao. As many of the animation studio's movies do, the film takes its title literally. But, it also spins the usual Pixar question. Turning Red does indeed wonder what'd happen if red pandas sported human-style emotions; however, the Disney-owned company has been musing on people becoming other kinds of critters of late, with particularly astute and endearing results here. The movie's focus: 13-year-old Chinese Canadian Meilin Lee (Rosalie Chiang, also making her film debut). The year is 2002, and she loves meeting her strict but doting mum Ming's (Sandra Oh, The Chair) expectations, hanging out with her pals and obsessing over boy band 4*Town. And while her mother doesn't approve of her friends or her taste in music, Mei has become accustomed to juggling everything that's important to her. But then, after a boy-related mishap, the red panda appears. Mei goes to bed feeling normal, albeit angsty and upset, only to wake up looking like a cuddly creature. Like werewolf tales about teenage boys tend to be, Turning Red is all about puberty and doesn't hide it — and whether it's tackling that head-on, pondering generational trauma or showing its rampant love for boy bands, it sports sweetness, soul and smarts. Turning Red streams via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We've also picked 15 exceptional films that hardly anyone saw in cinemas in 2022, the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
