Within its first 15 seconds, the trailer for Roadrunner: A Film About Anthony Bourdain states the obvious: "there's no happy ending". June 2021 marks three years since the American chef, author, host and documentarian passed away, and this doco can't explore his work and legacy without also touching upon on his unexpected death. To the surprise of no one, the film's sneak peek quickly gets emotional. The latest project from Oscar-winning 20 Feet From Stardom director Morgan Neville — who also directed affecting Mister Rodgers doco Won't You Be My Neighbour? — Roadrunner steps through Bourdain's ups and downs, successes and struggles, and passion for both food and travel. It showcases his frank, no-nonsense approach and his sense off humour, too. In one clip, just before he jumps into the ocean, he pre-empts an obvious question. "Some of you might ask: how is this food related?" he notes. Then, he replies to himself: "fucked if I know." Indeed, thanks to his long stints in front of the camera in everything from A Cook's Tour and Anthony Bourdain: No Reservations to The Layover and Anthony Bourdain: Parks Unknown, Roadrunner won't lack archival footage. The just-dropped trailer certainly doesn't. Bourdain's face and voice feature in the two-and-a-half-minute clip far more often than its talking-head interviewees, in fact, not that there's any shortage of those. Neville's aim: to peer behind the scenes at the man behind the world-famous personality, and to understand his life and impact — including via using his own words. The end result is set to hit US cinemas in July, with release details Down Under yet to be confirmed. Fingers crossed that the documentary turns up locally sooner rather than later. Check out the Roadrunner: A Film About Anthony Bourdain trailer below: Roadrunner will release in US cinemas on July 16. Release details Down Under are yet to be confirmed — we'll update you when more details come to hand. Top image: Focus Features.
Having established itself as a summer favourite in Adelaide, Brisbane, and Melbourne over the last few years, The Royal Croquet Club is finally gearing up for its Sydney debut. After a false start last year — in which the event was cancelled at the last minute — the outdoor festival is set to take over Bondi Beach next month. Gracing the shoreline from November 24 to December 4, the ten-day event promises all the fun and flavour of its interstate incarnations, offering up a buffet of live entertainment, experiential arts, food, drink, and — of course — more than a few games of croquet. The al fresco festival will see revellers of all ages and skill levels hitting the central croquet pitch, with some of Sydney's best food on hand for refuelling in between games. And the fun continues away from the mallets too, with a lineup of local and international artists dishing up live tunes, and an assortment of unique pop-up food stalls and bars for further indulging in that summertime spirit. While there's no word yet on who exactly will be feeding us at this year's event, previous festivals have seen Gelato Messina serve up ice cream creations in Campbell's Soup-like tins — so we've got pretty high expectations. Fashion stalls, markets, and an array of health and wellness events will round out the RCC experience, which is expected to pull a 60,000-strong crowd for its first Sydney stint. The Royal Croquet Club Sydney will come to Bondi Beach from Thursday, November 24 to Sunday, December 4. For more information as they announce it, check back here or visit royalcroquetclub.com.au.
How much we do we really know about Arab Near Eastern culture? Probably not nearly as much as we should. Don’t start fretting though, as the Brisbane Powerhouse is hosting an evening exhibit by the hands of talented Amber Hansen that encapsulates this experience in a no means conventional way. Sounds of dis-ORIENTation is an innovation that strays beyond predictable art platforms, to explore a cultural unknown. Hansen is a jack of many artistic trades. She incorporates elements of music technology, traditional, contemporary and experimental contexts of Arabic performing arts. More specifically, she presents this particular work as ambersound – an experimental music guise that utilises sound art, electronic, acoustic and visual elements in a cross-cultural context. And while, on her own, this is a more than impressive exhibit, it goes beyond following Amber’s own life long journey and relationship with her Lebanese heritage, with guest artists from around Australia and overseas will featuring live on stage and via skype to share there own experiences as a native, diaspora or foreigner. Sounds of dis-ORIENTation will be held at the Powerhouse Brisbane for one night only - grab your ticket pronto.
What's in a name? He titled Coriolanus by any other name would smell as proud, fierce and crazy scary. This, I'm guessing, would have been a line in Shakespeare's Coriolanus, had he not already used it to prettier effect in Romeo and Juliet. One of the lesser known of the Bard's works, Coriolanus is the story of a heroic Roman general, Caius Martius, who is decorated with the surname of Coriolanus. But when he's unable to translate his prowess for war into political popularity, he loses his title, is exiled from the city and from outside its walls plots his revenge. Like Baz Luhrmann's Romeo + Juliet and Richard Loncraine's Richard III, this Coriolanus puts Shakespeare's words into a modern context, aiming for accessibility, resonance and impact. Set "in a place calling itself Rome" but looking like the Balkans, the assured directorial debut from Ralph Fiennes pits himself as Coriolanus against Gerard Butler as his mortal foe, Tullus Aufidius, leader of the Volscian army. Coriolanus is a brazen Shakespeare/action movie hybrid that mostly works and works beautifully. It creates a highly stylised world where grey urbanism butts up against sweat and rawness and tribalism and men lovingly sharpening daggers of medieval thickness and detail. It's certainly redolent of those parts of the world that identify with European cosmopolitanism yet struggle to reconcile it with the barbarism that emerges in enmity. The modern makeover is elegantly done, with newscasts relaying the lines of citizen commentators and bazookas laying waste to apartment blocks that stand in for razed villages. There are a few moments, however, where the imagery and allegory lose the plot and you wish Fiennes and writer John Longan had thought more laterally about their revision. In particular, one little mob of protesters seems to hound Coriolanus in places (parliaments, TV studios) a mob could not normally be, soon running him out of town. As a representation of how public opinion works, it jars completely. It's disappointing because the whole point of Shakespeare's historical tragedies is to communicate how the lessons of a past event apply to the present, and one slip is enough to pull you out of a near-meticulous world. Fortunately, these inconsistencies are overcome in a tighter second half. Once Coriolanus is exiled from Rome, things get intense. He forms an alliance with Tullus Aufidius to march on the city that betrayed him, and only the intervention of his devoted (and devotedly militarist) mother (Vanessa Redgrave) and sweet wife (Jessica Chastain) can save the peace. The real pleasure in Coriolanus is savouring Shakespeare's words in a medium that zooms in close enough for you to properly hear them. They're spectacularly relayed by the impressive cast, whether by Fiennes' theatre-filling intensity or Butler's casual gruffness. https://youtube.com/watch?v=bsYrGIQnmxo
With 2020's Soul and 2023's Elemental, Pixar took a few cues from its gorgeous 2015 hit Inside Out, but the animated studio isn't done with emotions having emotions. After the original Oscar-winning film spent time inside an 11-year-old's head, seeing how joy, fear, sadness, anger and disgust bounce around her mind, Inside Out 2 will reach cinemas in June 2024 to explore the feelings coursing through the now-teenage Riley. As the just-dropped first teaser trailer shows, she has a newcomer in anxiety. Like Riley herself (who was voiced by Transmission's Kaitlyn Dias in the first movie), the emotions that she's experiencing aren't just sensations — they're characters trying to guide their human in the best way they can. And when Anxiety (Maya Hawke, Stranger Things) shows up, Joy (Amy Poehler, Moxie), Fear (Tony Hale, Quiz Lady), Sadness (Phyllis Smith, Barb and Star Go to Vista Del Mar), Anger (Lewis Black, The Last Laugh) and Disgust (Liza Lapira, The Equalizer) aren't quite sure how to react. The first sneak peek at Inside Out 2 hints at more emotions joining the fold, too, although exactly what they'll be — and who'll voice them — hasn't been announced. The poster for the film shows three other new figures trying to burst through alongside the orange-hued Anxiety, but without enough detail to reveal who they are. Everyone who has been a teenager knows the whirlwind of feelings that can spring, however, and therefore why Riley's mind is about to get crowded. And, you'll also recognise that Anxiety isn't about to just become a barely seen sidekick. View this post on Instagram A post shared by Pixar (@pixar) Fans of the first Inside Out will also spot that Hale and Lapira are new additions to the voice cast, replacing Bill Hader (Barry) and Mindy Kaling (The Morning Show) respectively. As Inside Out 2 charts big changes for Joy and the gang — and for Riley — first-time feature director Kelsey Mann (who has a story credit on The Good Dinosaur) directs, while Meg LeFauve (Captain Marvel) wrote the screenplay, as she did with Inside Out. Check out the first teaser trailer for Inside Out 2 below: Inside Out 2 releases in cinemas Down Under on June 13, 2024. Images: © 2023 Disney/Pixar. All Rights Reserved.
First, get excited about autumn Down Under. Next, get a sneak peek at the number-one show on your early 2023 viewing list. HBO just has announced when its award-winning family-feud drama Succession will return for its fourth season — down to a three-month period, at least — and dropped a full teaser trailer giving a glimpse at what's in store. Sometime between March and May in Australia and New Zealand, Succession will unfurl its next round of squabbles over a media conglomerate, between a father and his adult children, and likely between siblings as well. So far, HBO hasn't been more specific about timing than that, just noting that season four of the show will arrive in spring in the US — which, yes is autumn Down Under. The American network gave a firmer of idea of what the new batch of Succession episodes will cover, however, following on from an initial sneak peek in a broader HBO trailer in mid-October. As patriarch and business titan Logan Roy, Brian Cox (Remember Me) is still monologuing with the best of them, including about his kids. "I'm a hundred feet tall. These people are pygmies," he spits, as the teaser also shows Kendall (Jeremy Strong, The Trial of the Chicago 7), Connor (Alan Ruck, Freaky), Shiv (Sarah Snook, Pieces of a Woman) and Roman (Kieran Culkin, No Sudden Move) banding together to form a rebel alliance against their dad. All the chaos stems from the season-three move to sell the Roy's company Waystar Royco to a tech visionary played by Alexander Skarsgård (The Northman). Unsurprisingly, not everyone is thrilled. When an entire series is about who'll take over the lucrative and powerful family business, removing that option for everyone is going to cause some hefty fallout. Also included in this sneak peek: Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) addressing the aftermath of his own actions at the end of season three, and his betrayal of his Shiv. "Do you want to talk about what happened?" he asks his wife, who — also to the astonishment of no one — does not look impressed. It was back in 2021 when HBO announced that Succession would return for a fourth run, after its Emmy-winning third season proved that exceptional — and popular. Viewers can clearly expect more power struggles and more savaging of the one percent, aka more of what Succession has always done best. Indeed, if you're a fan of twisty TV shows about wealth, privilege, influence, the vast chasm between the rich and everyday folks, and the societal problems that fester due to such rampant inequality, there's been plenty of ace examples of late, including The White Lotus and Squid Game. No series slings insults as savagely as this tremendous series, however. No show channels feuding and backstabbing into such an insightful and gripping satire, either. Check out the teaser for Succession season four below: Succession season four will arrive sometime in autumn 2023 Down Under, including via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand — we'll update you with exact details when they're announced. Check out our review of season three.
Haute couture. Murder. Disco tunes and Studio 54. Throw in one of the biggest names in fashion — and a tale that's filled with both glam and grim strands, too — and that's House of Gucci. Ranking highly among the most anticipated movies set to hit the big screen across the rest of 2021, this Ridley Scott (All the Money in the World)-directed drama steps inside the Gucci family fashion dynasty, charting its successes and shocking moments over the course of three tumultuous decades. If you've read the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed, which this new film is based on, then you'll know the details. If you've seen news coverage about or can remember the events that rocked the Italian family back in 1995, you will as well. The focus: Maurizio Gucci, grandson of company founder Guccio Gucci, and the head of the fashion house throughout the 80s and early 90s — until he was assassinated by a hitman in 1995. Adam Driver steps into also Maurizio's unsurprisingly stylish shoes, in what's proving a big year for him in cinemas. He'll also grace the big screen in Scott's next film The Last Duel, which is due to release in October — a month before House of Gucci arrives in November. In the latter flick, he's joined by Lady Gaga in her first big-screen role since A Star Is Born, this time playing Maurizio's wife Patrizia. Obviously, there's quite the tale to tell — and, as the just-dropped first trailer for House of Gucci shows, Scott is going big on striking threads, 70s and 80s tunes and vibes, indulgence and luxury dripping through in every frame, and also an unavoidable air of melodrama. To help, the star-studded cast also includes Jared Leto (The Little Things) sporting plenty of prosthetics and makeup, as well as Al Pacino (The Irishman), Jeremy Irons (Love, Weddings and Other Disasters) and Salma Hayek (The Hitman's Wife's Bodyguard). As the trailer reminds us, that's a whole lot of Oscar-winning and Oscar-nominated talent in one flick. Check out the trailer below: House of Gucci will release in Australian cinemas on November 25.
If you missed last year's Yoko Ono/Opening Ceremony collaboration entitled Yoko Ono Fashions for Men 1969-2012, let me give you a minute to follow the link and get back to me. Wow. Right? LED nipples on a bandeau bra, thigh-high boots and some arseless chaps topped off with some good ol' fashioned ball grabbing! Who knew men's fashion had changed so little in the past 40 years. Half absurdist, half straight-shooting statement on fashion and all Ono, the line was based on sketches made during her relationship with John Lennon. The 80-year-old revealed the songwriter served as her muse, inspired by "love for his hot bod". I bet Sean loved hearing those Lennon family classic stories. Just under six months later and she has jumped back into bed with Opening Ceremony to bring us the next instalment, Yoko Ono Make-Up Tips for Men. It's 1 min 30 of tips on how boys can make themselves pretty, with a noticeable lack of eyeliner and set to a remix of Ono's own 'The Sun Is Down'. The video moves through three sections/moods: day make-up, evening make-up and dawn make-up — or, rainbow time, sparkling time and erasing time. In many ways this video looks like a Family Guy parody of itself, and a stupefied Peter Griffin at the 1 min 27 second mark is an easy edit we can all look forward to seeing on YouTube. But, sarcasm aside, this video is definitely worth some of your conversation time — proof that Yoko still has a lot to say about the Y chromosome, sexuality, self and that she still knows how to say it Ono style. War Is Over (If you want it), an exhibition of Yoko's work across multiple disciplines, will be on at Sydney's Museum of Contemporary Art Australia in November 2013. Cross fingers, the artist herself will also be present. Via HuffPo Culture.
When the first and second seasons of Sex and the City spinoff And Just Like That... started streaming, a famous setting made an appearance Down Under. If you'd always wanted to hang out on Carrie Bradshaw's (Sarah Jessica Parker, Hocus Pocus 2), stoop, that became a temporary reality in Sydney and Melbourne. For season three, which is currently working through its episodes on HBO Max, a different spot from the show is making an appearance in Australia. We hope you're hungry, be it for something sweet or savoury, because Hot Fellas Bakery is about to hit Sydney. Yes, this purveyor of baked goods is usually fictional. The brainchild of character Anthony Marentino (Mario Cantone, Better Things), it lives up to its name in the series. It'll also exist IRL at Darlinghurst's Taylor Square in the Harbour City, but only for one weekend: from Friday, June 27–Sunday, June 29, 2025. [caption id="attachment_1009739" align="alignnone" width="1920"] Craig Blankenhorn/Max[/caption] Hot Fellas Bakery first made the leap from the screen in New York — where else? — and is doing the same in Australia just two weeks after its Big Apple debut. The pastries on offer won't cost you a thing. Neither will the coffee. There'll be limited-edition merchandise up for grabs as well. Equally doing its moniker proud is set to be part of the pop-up, too. On the menu: Vegemite babka, Golden Gaytime cream puffs and AP buttermilk croissants. While Hot Fellas Bakery has locked in a three-day Sydney run, you do only have a brief window of time each day to head by, however. It's operating from 10am–12pm on Friday, June 27, then from 8am–12pm on Saturday–June 28–Sunday, June 29, 2025 — and will close earlier each day if everything is already sold out.
The zero-waste movement has spawned a whole host of clever recycling initiatives, from workout gear crafted out of rescued ocean plastic to sneaker soles featuring rubber made from used bubblegum and even a whole road made of soft plastics and glass bottles. And now, with the help of a $115,000 boost in funding from the NSW Government, coffee cup recycling crew Simply Cup will be turning millions of disposable coffee vessels into things like benches and parking curbs. Over the next year, the project will see 110 tonnes, or around 11 million cups, diverted from landfill and upcycled into a range of new products. That's on top of the 2.5 million disposable cups the group has already saved from landfill in the past 18 months. In collaboration with a group called Newtecpoly in Moama, many of these cups will be combined with recycled plastics to create transport control products, like car park stoppers, bollards and kerbing. Newtecpoly also have the capacity to make all sorts of things like outdoor furniture, coathangers and bricks. The new funding — which comes from the NSW Government's $5.46 million Circulate grant program that aims to divert waste from landfill — will allow Simply Cups, which operates across Australia and the UK, to ramp up its efforts, collecting even more cups from commercial buildings, public spaces, caterers and 7-Elevens in Sydney, Newcastle and Wollongong. The group's the same one behind rCUP — the world's first reusable cup made from recycled coffee cups — which was created in collaboration with 7-Eleven earlier this year. The Simply Cups collection tubes are currently set up at 340 locations and counting around Australia, including 7-Elevens, Muffin Breaks, office buildings and cafes. To add to that number, you can set up your own workplace or business with them, too — just request a collection over here. And if you want to go one step further, the best way to make sure your coffee cup doesn't end up in landfill is to buy a reusable keep cup.
Jiro Dreams of Sushi, a hagiographic portrait of 85-year-old sushi master and three-Michelin Star restauranteur Jiro Ono, could and should have been a short film. If you just clicked that link and watched the trailer for this film, then you've basically seen the film. We know straight up that Jiro is a perfectionist and a workaholic and yet the film wastes valuable time declaring its subject's mythic status in the Japanese culinary scene and confines 80 percent of the action within his hidden-away 10-seater restaurant, Sukiyabashi Jiro. Shot using the latest-and-greatest RED Cam, the texture of the film has all the trappings of a very slick commercial. It's overladen with a slew of heavy-handed cinematic conceits, such as super slow motion, shallow depth of field photography, and more than its share of time-lapse montage sequences set to an incredibly self-important and hackneyed iteration of a Philip Glass score. At one point, and this just exactly encapsulates the tone of the film, we hear a naff food writer say, "every mouthful of Jiro's sushi is like eating his philosophy" and see a glistening piece of soy sauce-slicked blue fin tuna land on a porcelain plate with just the right amount of bounce-on-impact-captured-in-extreme-close-up to make doe-eyed popcorn-guzzling viewers stop mid-mouthful turn to their buddy and spit, "wow, that's really fresh tuna." Portraits of obsessive people are most interesting when they offer insights into the life of the subject outside of his or her specialty area. I wanted to see how Ono deals with the chaos of the world beyond the borders of his hallowed restaurant where he isn't a reigning deity. The film does give a rudimentary backstory, but it doesn't go nearly far enough fleshing it out. Are there any unrealised wishes in Ono's life? Secret diversions? Regrets? If you find an occupation you love and spend your entire life working at it, is that enough? To have positioned Ono at the centre of modern-day Japan would have given this film some much-needed weight and context. That is, how does the working culture of Sukiyabashi Jiro illuminate a broader cultural tendency? Alas, this is a very lazy debut by director David Gelb. https://youtube.com/watch?v=hbV6knbeUFE
Award-winning playwright Dylan Van Den Berg is bringing his new Griffin Theatre Company show Whitefella Yella Tree to Darlinghurst's SBW Stables Theatre for its world premiere from Friday, August 19 until Saturday, September 17. Taking place in the early 19th century, Whitefella Yella Tree follows two First Nations teenagers, Ty and Neddy, who meet under a lemon tree as the country is beginning to be invaded by white settlers. A friendship blossoms, followed by the rush of young love as the boy's relationship turns romantic. Little do they know how their world and their communities are about to change forever. Exploring themes of love, Country and Blak queerness, the play is anchored on two standout performances from Guy Simon (First Love is the Revolution, Wakefield) and Callan Purcell (Hamilton, Bran Nue Dae), who help bring to life Van Den Berg's story of coming of age in the time of colonisation. "There's no one else in Australian theatre writing quite like Dylan Van Den Berg," Director and Artistic Director of Griffin Theatre Company Declan Greene said. "He seeks out the gaps in our cultural memory: the bits erased by wilful forgetting. His plays are feats of vivid imagination, but always bound to an unflinching emotional truth." Previews for Whitefella Yella Tree will take place August 19–22 before the production officially opens on Wednesday, August 24. View this post on Instagram A post shared by Griffin Theatre Company (@griffintheatre)
Plenty of movies have hit cinemas and streaming in 2022, including ace and terrible flicks alike, but few films have sparked as much chatter as Don't Worry Darling. First up, it earned attention thanks to its director and cast, with the twisty thriller marking actor-turned-filmmaker Olivia Wilde's second stint behind the lens after Booksmart, and starring Florence Pugh (The Wonder) and Harry Styles (My Policeman). Then, the picture started causing talk due to a whole heap of off-screen chaos, such as awkward press conferences, possible spit and other rumoured scandals among its main figures. So, by now, everyone has heard about Don't Worry Darling. If you haven't yet seen it since it released in Australian cinemas at the beginning of October — and it is worth seeing — you can now do that at home, too. Like everything from Dune, The Matrix Resurrections, Spencer and West Side Story through to Everything Everywhere All At Once, The Unbearable Weight of Massive Talent, Elvis and Nope this year, the film has joined the list of fast-tracked flicks making their way to digital while still brightening up the big screen. Here, Pugh plays Alice, who gets stranded in the worst kind of 1950s-style ordeal despite all initial appearances to the contrary. Victory, the community where she lives with her husband Jack (Styles), appears picture-perfect; however, we all know how that can be deceiving. Indeed, the dreamy facade unravels quickly. The town is home to the men who work for the top-secret Victory Project — such as Jack — and their families, and it's where Don't Worry Darling's central duo are meant to enjoy nothing but bliss. They're given two rules to abide to, though: exercising the utmost discretion and committing 100-percent to Victory's vision, even if the town's wives don't actually know what their husbands get up to all day. That's all well and good — and terrific, in fact for most of Victory's residents — but it stops being the case for Alice. Despite a pervasive mood of optimism around the place, as well as overt reassurances by company CEO Frank (Chris Pine, All the Old Knives) and his wife Shelley (Gemma Chan, Eternals), Alice is certain that all isn't quite what it seems — or that she can or should trust what the company is so determined to impress upon the town's inhabitants. Yes, as immaculate as Don't Worry Darling looks, it's 100-percent a psychological thriller. It gives off huge The Truman Show vibes, too, as Alice refuses to acquiesce. The film also co-stars Wilde herself, playing another Victory employee's spouse, as well as Nick Kroll (Our Flag Means Death), KiKi Layne (The Old Guard), Sydney Chandler (The Golden Rut), Kate Berlant (A League of Their Own), Asif Ali (WandaVision), Douglas Smith (Big Little Lies), Timothy Simons (Station Eleven) and Ari'el Stachel (Zola). Check out the trailer for Don't Worry Darling below: Don't Worry Darling is currently screening in Australian cinemas, and is also available to stream online via video on demand from Monday, November 7 — including via Google Play, YouTube Movies and Prime Video in Australia. The film is also still showing in NZ theatres as well, and can be streamed in Aotearoa via Neon, Google Play and iTunes. Read our full review.
It's that time of year again — the State Library of NSW is about to play host to the annual globally-touring World Press Photo exhibition. From May 27 to June 25, the library will display over 150 images painstakingly selected from 80,408 submissions by 5034 press photographers, photojournalists and documentary photographers from 126 countries to World Press Photo. That's a lot of photos. See what took out first prize in the contest's 60th year across categories including nature, sport, daily life and contemporary issues. Of course, the winner will be on display too — Burhan Ozbilici's chilling An Assassination in Turkey, which captured Mevlüt Mert Altıntaş mere moments after shooting the Russian ambassador to Turkey in an Ankara art gallery. Lighter fare includes a photo by Tomas Munita of The New York Times titled Cuba on the Edge of Change, which won first prize in the Daily Life: Stories category. The image depicts a barber shop — barber shop photography is quite the trend this month — in Cuba's Old Havana, taken shortly after the death of Fidel Castro.
Can you feel a tingling in your toes as your feet start to defrost? That's the feeling of winter slipping away (or maybe you've been sitting cross-legged for too long) and with its demise comes the return of Australia's beloved Moonlight Cinema. Ahhh balmy nights on the grass, we have missed you. Heralding the coming of the warmer months, Moonlight Cinema is a summertime tradition that is thankfully making a comeback despite everything that 2020 has thrown our way — hitting up screens in Sydney, Melbourne, Adelaide, Brisbane and Perth. Nosh-wise, Moonlight Cinema will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can also enjoy a plethora of snacks from food trucks — perfect, messy treats made for reclining on bean beds. The overall season runs from November through to April, although it varies city by city. After announcing vague dates last month, Moonlight has now revealed exactly when it's hitting each part of Australia — and expect to hear about what it'll be showing on Thursday, November 12. And, unsurprisingly, this year's Moonlight will be a socially distanced affair. That includes seating and queuing, plus there'll be hand-sanitiser stations, increased cleaning measures and contactless payment — with online bookings recommended. MOONLIGHT CINEMA 2020–21 DATES Sydney: Thursday, November 26–Sunday, April 4 (Centennial Park) Brisbane: Friday, November 27–Sunday, February 21 (Roma Street Parkland) Adelaide: Friday, December 11–Sunday, February 14 (Botanic Park) Perth: Thursday, December 3–Sunday, April 4 (Kings Park and Botanic Garden) Melbourne: Thursday, January 7–Sunday, April 25 (Royal Botanic Gardens) Moonlight Cinema kicks off in November 2020, running through until April 2021. For more information, visit the cinema's website — and we'll update you with program details when they're announced later this month.
It's a marriage of the ultra trendy and timeless style. Italian label Superga has collaborated with 'it girl' Alexa Chung's eponymous fashion line to create an exclusive shoe collection of chunky, retro, yet elegant kicks. Trading in Superga's iconic canvas for suede and velvet, the limited edition range reboots the oldie, but goodie bowling shoe with thick soles, as well as the Italian label's sports training styles — a model from the brand's over-100-year-old history books. Now, it's all too often these sort of collaborations are only available to our mates in the northern hemisphere, but Superga and Alexa, being the inclusive types they are, will launch the Superga x ALEXACHUNG collaboration in Australia this week. And we've secured two spots for you and your plus one at the exclusive launch party happening in Sydney this Friday. While we won't know the location until the day of, we do know that Alexa Chung will be there in the flesh. So along with partying with Sydney's style set at this secret (waterside) location, you'll be rubbing shoulders with one of the fashion industry's biggest names. Whether you'll be fangirling/boying or not, it's a party you'll certainly want to secure an invite to just for the killer Sydney views, Aperol spritzes, flutes of Perrier Jouet Champagne and canapes like seared scallop with spicy shellfish vinaigrette and crackling, orecchiette puttanesca and goat's curd and tomato tartlets with black olive — what a way to kick off the weekend. Plus, on top of all that, we've secured two pairs of Supergas for you and your favourite friend. You'll be able to slip into those crisp white kicks just in time for the arrival of warmer days. The Superga x ALEXACHUNG capsule collection launch will take place this Friday, September 21 in the evening at a secret location. To secure an RSVP, as well as some Superga kicks for you and a plus one, enter your details below. [competition]689242[/competition]
Some innovative internetters have thrown their support behind tougher laws on firearms in America by photoshopping classic movie moments so that our favourite gun-toting characters serve their enemies a friendly thumbs up instead of a barrage of bullets. The light-hearted approach by photoblog Thumbs & Ammo comes at a time when America is heatedly debating gun control, and its amusing advocacy of stringent gun control provides a refreshing and entertaining new angle as to why Americans do not need guns. "Real tough guys don't need guns, they just need a positive, can-do attitude," the crowdsourced blog's tagline declares. Let us hope that art can imitate life. In the meantime, take a look at some of our favourites below.
Opera's old-school reputation as an exclusive pursuit with a high barrier for entry (i.e catering for the obscenely rich only) is no longer. Head to a performance these days and you won't find women in elaborate gowns or men sporting excessive wigs, but rather culture vultures of all ages (and dress senses). Opera is now for the masses; classic storytelling and captivating performances will never go out of fashion, after all. In partnership with Opera Australia, we've rounded up five epic performances for you to catch across the next 12 months. Whether you're an opera fan or you're wanting to dip your toe into the world of fanciful costumes and falsettos for the first time, these shows are sure to impress — from ones performed on an island on Sydney Harbour to Puccini classics in the halls of Sydney Opera House. [caption id="attachment_573639" align="alignnone" width="1280"] Jeff Busby[/caption] 'LA BOHÈME' January 4–February 4, 2022 We're lucky enough to have one of the world's most iconic opera houses on our doorstep, and there's no better place to see Puccini's famed production, La Bohème. The 19th-century tale follows two couples fighting to keep love alive amid a backdrop of poverty and struggle in Paris. Sound familiar? Baz Luhrmann borrowed elements from La Bohème when working on smash-hit film Moulin Rouge!. Rent also takes some cues from the famed opera, transplanting the bohemian story in late-80s New York. This particular production takes Puccini's classic and places it in 1930s Berlin. So, you can expect the meticulous costume design to reflect the burlesque stylings of the era — fairy lights, fishnet stockings and all. [caption id="attachment_841547" align="alignnone" width="1920"] Hamilton Lund[/caption] 'THE PHANTOM OF THE OPERA' — HANDA OPERA SYDNEY HARBOUR March 25–April 24, 2022 Yes, The Phantom of the Opera isn't actually an opera, but this really is a cultural experience not to be missed. The long-running musical, soundtracked by one of Andrew Lloyd Webber's most renowned scores, will be taking place on a floating stage in the middle of Sydney Harbour. The Opera House, Harbour Bridge and the lights of the CBD become the backdrop as a live orchestra, hidden from view beneath the stage, play much-loved favourites such as 'Masquerade' and 'All I Ask of You'. As well as the dramatic performance, there'll be pop-up bars and food aplenty, and each night will culminate in a spectacular firework display. 'MADAMA BUTTERFLY' June 29–July 30, 2022 It may now be one of the best-known operas in history, but when Madama Butterfly first premiered in 1904, composer Puccini referred to the chaotic performance as "an orgy of lunatics, drunk on hate." Thankfully, he saw fit to rewrite parts of it in light of a disastrous opening night, and it's this definitive version about impossible beauty that will be playing at the Opera House next winter. The tale of American naval officer Pinkerton and his new wife, former geisha Cio-Cio San, Madama Butterfly is set in Nagasaki and features Japanese bells and makes use of the pentatonic scale to create an evocative soundscape. This production by Graeme Murphy takes a contemporary look at the classic, using a towering digital set to create one helluva memorable performance. [caption id="attachment_805194" align="alignnone" width="1920"] Prudence Upton[/caption] 'LA TRAVIATA' July 5–November 4, 2022 Verdi's La Traviata is the world's most-performed opera — so, if you're not an opera buff, there's no better introduction. After all, it was good enough for Julia Roberts in Pretty Woman, with the film taking inspiration from the famed opera. A rich and textured story of wealthy socialite Alfredo Germont and young courtesan Violetta, the opera flits between the lavish parties of Paris and the bucolic countryside and, in this production by Elijah Moshinsky, the exquisite set design and costuming promise to be as captivating as Verdi's compositions. Fun fact: La Traviata wasn't an instant success, having had a troubled first performance. However, it went on to be such a hit that it attributed to the 300,000 people lining the streets for Verdi's funeral procession in 1901. 'CARMEN' ON COCKATOO ISLAND November 25–December 18, 2022 If you know any piece of music from an opera, chances are it's from Carmen. The opera's prelude is even played on the podium as the drivers spray champagne at the end of every Formula 1 race. Bizet's tale of fate and freedom — and the eponymous femme fatale — features toreadors, flamenco, fire and drama aplenty, making it an entertaining spectacle even for opera newbies. Attending the show on Cockatoo Island is an event in itself — the venue puts on a range of eateries and bars before you take in the show under the stars. If you're lucky enough to own a boat, you can even book a mooring and watch the masterpiece from the water. For more information on Opera Australia and its upcoming productions — and to buy tickets — head to the website. Top image: 'Carmen' on Cockatoo Island, Opera Australia
For the past nine months, The Lume has dazzled Melburnians with an immersive, multi-sensory exploration of the works of Van Gogh. Now, the digital art gallery is gearing up to launch its second exhibition, swapping the giant projections of Sunflowers and The Starry Night for a showcase of iconic works from the French Impressionist era. Announced today, Monet & Friends Alive is the next dynamic art experience set to take over the gallery's lofty spaces, kicking off Wednesday, October 26, in the site's permanent home at the Melbourne Convention and Exhibition Centre (MCEC). Taking visitors back in time to 19th-Century Paris, it'll celebrate the paintings of Impressionist icons from Monet to Renoir, and Cézanne to Manet. As with its predecessor, the exhibition will display its artworks via supersized projections splashed across its sprawling surfaces, and paired with a curation of tastes, aromas and sounds. Here, that means you'll be able to wander over a bridge and right into a recreation of Monet's famed 1899 work, Bridge Over a Pond of Water Lilies. Other interactive experiences will include a studio space where visitors can have a go at creating their own replicas of Monet's best-known paintings. Further tapping into the French bohemian spirit will be The Lume's own take on a 19th-Century Parisian cafe, Cafe Lumiere, which will be serving up a menu of small bites, share plates and desserts to enjoy after your artistic adventures. The Lume is the brainchild of Melbourne-based Grande Experiences, which, for the past 15 years, has hosted immersive exhibitions and gallery experiences in over 130 cities across the world. The company also owns and operates Rome's Museo Leonardo da Vinci. You've still got a few more weeks to catch Van Gogh at The Lume before it wraps up on Sunday, October 9, making way for Monet & Friends Alive to take over. 'Monet & Friends Alive' will launch on October 26, with tickets available from August 26. Head to the website for more details.
With the NSW Government's controversial new music festival licensing regime taking its toll on events around the state, local industry bodies have taken it upon themselves to prevent more damage being done. First, Bluesfest's director Peter Noble published a scathing open letter to the State Government and, just last week, 17 festivals and touring companies organised the Don't Kill Live Music rally, which got 20,000 people down to Hyde Park. And now, a gig at the Metro Theatre is being thrown in the same vein. Taking over the CBD live music venue on Thursday, March 7, the gig will feature performances from the likes of Gordi, Josh Pyke and Eskimo Joe's Kav Temperley, as well as stand-up stars Tom Ballard, Cameron James, Matt Okine an Mel Buttle. The night of local tunes and stand-up has been organised by the Night Time Industries Association (NITA), which represents Music NSW, Sydney Fringe, hospo groups Solotel and Applejack and venues including Mary's, The Lansdowne, Oxford Art Factory and Giant Dwarf. With all artists donating their time, proceeds from the $50 tickets will go towards funding NITA's 'Unite for the Night' campaign. This will include media and communications activities that raise awareness about current policies affecting the association's members in the lead-up to the March 23 election.
In 2020, the Melbourne International Film Festival hosted its largest festival to-date — when it came to the size of its audience, that is. Taking place last August when the city was in lockdown, the fest attracted plenty of eyeballs to its online-only lineup. This year, however, Melburnian movie buffs will also be able to head to a cinema to get their film fix. MIFF isn't ditching digital in 2021, though. Instead, it's going hybrid — so watching at home from wherever you happen to be around the country and attending in-person in Victoria will both be options. Just what will be available virtually and what you'll need to see in a theatre hasn't been revealed, but the fest has just announced 32 titles that it'll be showing one way or another between Thursday, August 5–Sunday, August 22. Also, this year's MIFF will be expanding its physical footprint, hitting up not only the usual CBD venues but also suburban and regional spots as well. As for what you'll be seeing, so far the festival has named a hefty number of homegrown movies. Topping the list: the supremely powerful opening night pick The Drover's Wife The Legend Of Molly Johnson, which'll become the first movie by a female Indigenous filmmaker to ever open the fest. Directed by and starring Leah Purcell (Wentworth), the film will launch MIFF 2021 in quite the potent fashion, with this exceptional reimagining of Henry Lawson's 1892 short story making its Aussie premiere after initially debuting at SXSW back in March. Purcell first turned The Drover's Wife into a play and then a book, and thankfully she isn't done forcing audiences to reckon with the country's colonial history and its impact upon First Nations peoples and women just yet. Another big Australian name, and one that'll bow at MIFF after playing at the Cannes Film Festival: the already-controversial Nitram. Read the movie's title backwards and you'll know why it has sparked a reaction long before it even hits the screen. Here, Snowtown and True Story of the Kelly Gang filmmaker Justin Kurzel and screenwriter Shaun Grant reunite on a drama about the lead up to the events in Port Arthur 25 years ago — with Caleb Landry Jones (Three Billboards Outside Ebbing, Missouri) playing the titular figure. [caption id="attachment_815946" align="aligncenter" width="1920"] Nitram[/caption] Other notable local titles include Anonymous Club, a Courtney Barnett-centric documentary about creativity; political thriller Lone Wolf, which stars Tilda Cobham-Hervey (Hotel Mumbai), Stephen Curry (June Again) and Hugo Weaving (Hearts and Bones); and Wash My Soul in the River's Flow, which chronicles Archie Roach and Ruby Hunter's performance with Paul Grabowsky's Australian Art Orchestra, and comes to MIFF at around the same time as it'll screen at this year's Sydney Film Festival. This year, the two events overlap — SFF is being held two months later than usual — so cinephiles can expect the fests to share more a few more movies in common than usual. From MIFF's international slate, Petit Mamam leads the bill — and, given that it's the latest film from Portrait of a Lady on Fire's Céline Sciamma, it's an instant must-see. Other standouts include tweet-to-screen comedy Zola, Oscar-nominee Quo Vadis, Aida?, Japanese relationship drama Wheel of Fortune and Fantasy and documentary Hopper/Welles, which charts a boozy 70s conversation between Dennis Hopper and Orson Welles. MIFF will also screen Pedro Almodóvar's (Pain and Glory) latest, a short called The Human Voice that stars Tilda Swinton, and also marks the Spanish auteur's English-language debut. And, it'll host a Hear My Eyes session as the fest often does, this time screening Aussie great Two Hands. The full festival lineup will be revealed on Tuesday, July 13, which is when you'll be able to start planning out your August viewing schedule — and your trips between the fest's 2021 venues, which include Comedy Theatre, the Forum, RMIT Capitol Theatre, ACMI, Kino Cinemas, Hoyts Melbourne Central, Coburg Drive-In, The Astor, Palace Cinemas Pentridge, The Sun Theatre and Lido Cinemas. The 2021 Melbourne International Film Festival runs from Thursday, August 5 to Sunday, August 22 at a variety of venues around Melbourne. For further details, including the full program from Tuesday, July 13, visit the MIFF website.
Here's Underworld: Blood Wars in brief: in the millennia-old conflict between werewolves and vampires, the werewolves (or Lycans) are regrouping while the vampires are down to their last two covens. The good news, however, is that the Paris coven is impregnable. Never been breached in 15 centuries. Not once. Give up now, Lycans. It cannot. Be. Pregged. Well…unless you have a small, mid-priced sedan driven by animatronic Gucci model Theo James, which ploughs through the coven's single-frame, wrought-iron gate like a knife through butter that isn't even butter because it's actually nothing. Not to be deterred, however, the vampires quickly re-attach the gate with a solding iron, rendering the coven once again...impregnable. To quote The Princess Bride, "You keep using that word. I do not think it means what you think it means". So here's what we need to do. First, we go buy some red baseball caps – bright red ones – then embroider them with the following message: MAKE UNDERWORLD OKAY-ISH AGAIN. The people will follow us. Landslide, guaranteed. The original Underworld, released in 2003, was not without its merit. It didn't have much merit, mind you, but some is still better than none. Kate Beckinsale proved a fantastic choice for the death-dealing werewolf hunter Selene, whose talents and temerity outstripped compatriot and opponent alike. Alongside her, Bill Nighy, Scott Speedman and Michael Sheen rounded out a not-unimpressive supporting cast capable of making even the most laughably bad line somehow resonate with a sense of class and purpose. Yes, it was fetishist-heavy and contained a whole lot of gun porn, but it was a film of its time and found a willing fan base to propel it into a franchise. Underworld: Blood Wars, however, is now the fifth film in said franchise, one that definitely ought to have stopped at two – and my, how the largely-passable have fallen. Honestly, people have written more compelling stories on toilet paper, and they didn't need a pen. This latest instalment takes every one of the already scant, okay-to-decent aspects of the original film and dispenses with them wholesale aside from Beckinsale herself. What little story there is comes across in heavy-handed dialogue which mostly exists to bridge one dull fight scene to the next. The characters, meanwhile, continue to clad themselves in comically revealing black lace or leather like extras from a Judas Priest video. Except for the ones in all white, because they're pacifist vampires, don't ya know. https://www.youtube.com/watch?v=QSlaWHDu5WU
Do you live in a dog-friendly house? Do you have some spare time on your hands? Do you fantasise about taking a pup to the pub with you? The good folk at Guide Dogs NSW/ACT need you. They're always home to pups that'll grow into companions as part of the Guide Dog program, and they're in need of carers to raise them. In other words, they're giving away puppies. If you put up your hand, you'll get a puppy for about a year — from its eight-week birthday until it turns 14 months. During that time, you'll be responsible for introducing the sights, sounds and smells it'll meet when it starts working as a guide dog (and giving it heaps of cuddles). Of course, it's not all just fun, games — it's a lot of commitment and hard work. You'll have to be responsible enough to take care of regular grooming, house training and exercise, and be available to attend local training days, along with vet checks and Puppy Pre-School. A car and a fenced-in property are mandatory, too. And, you can't be away from home for more than four hours at a time. In return, the organisation provides a strong support network, food, vet care and prevention of fleas and ticks. "We are looking for people that are home most of the time and who are interested in putting effort into training and socialising the dog. What you get in return is a life-changing experience and knowing that you've positively contributed to your community," said Karen Hayter, Puppy Development Manager at Guide Dogs NSW/ACT. Guide dogs are provided free to those in need, but each costs around $50,000 to raise over two years. If you can't afford to sponsor a pup or donate to the charity, but you've got a bit of flexibility and time on your hands, this could be your calling. Keen? Apply online. And send pics, please. Guide Dogs NSW/ACT is looking for puppy carers now. For more information and to volunteer, head to the organisation's website.
UPDATE: March 6, 2020 — Burwood Chinatown have announced an additional 500 free scoops and two extra flavours, strawberry sorbet and salted caramel with white chocolate. Chinese eateries and precincts have been doing it tough of late, with some restaurants reporting an 80 percent drop in customers due to fears surrounding the coranavirus. To encourage people to head back to the area and support small local businesses, Burwood Chinatown is giving away scoops of Gelato Messina on Saturday, March 7. The inner west precinct, which cancelled its Lunar New Year celebrations earlier this year because of community health concerns, will be handing out a whopping 1000 free scoops from 4–7pm (or until it's all gone). You can choose from four flavours, including pandan and coconut, milk chocolate with choc peanut fudge, boysenberry, and cookies and cream, and not pay a cent. Dietary requirements are accounted for, too, with vegan and gluten free options available. Of course, it wouldn't be a party without decorations and activities, so there's also going to be a bouncy castle, balloons and face painting. Burwood also has a heap of bubble tea shops, restaurants, bars and cafes, so make sure you swing by one of those and support a struggling business while you're there. Free Messina Ice Cream Party will run from 4–7pm.
Read more: Vivid Sydney 2015 overview The ten best gigs to see at Vivid Sydney 2015 The ten best events to go to at Vivid Ideas 2015
As part of the Belfast Festival, Northern Ireland’s capital city is currently playing host to WISH, a public art project by Cuban-American artist Jorge Rodríguez-Gerada. Already nicknamed by local residents as 'The Face from Space', the portrait of an anonymous Belfast girl is so enormous at its 11-acres that it can only be viewed from an aeroplane (or from a mountaintop). It was first plotted on a grid using some very swish technology and 30,000 manually placed wooden stakes. After that volunteers spent a month helping to 'draw' the portrait using nearly 8 million pounds of soil, sand and rock. Now that's patience. Rodríguez-Gerada is known for his giant-scaled portraits in public spaces. In a statement, he says of WISH, "Working at very large scales becomes a personal challenge but it also allows me to bring attention to important social issues; the size of the piece is intrinsic to the value of its message. Creativity is always applied in order to define an intervention made only with local materials, with no environmental impact, that works in harmony with the location." Via Colossal.
A couple of years ago, Dutch designer Marjan van Aubel posited that every object could be turned into a solar cell. No more dirty coal burning, no more tangled cables, no more electricity bills. Sure, it might sound utopian, but if that sun up there’s been keeping more than 400,000 plant species going for millions of years, then there’s surely no reason it can’t handle whatever the Apple factory can throw at it. Van Aubel started her mission with the creation of a drinking glass that could power a mobile phone. Now, she’s come up with The Current Table — a solar desk that functions as both workspace and electronic gadget charger. The top is made of glass, which has been dyed orange and embedded with tiny particles of titanium dioxide. When sunlight hits, the titanium dioxide releases electrons, creating an electrical current. The process is similar to photosynthesis (plants’ transformation of chlorophyll into energy). What’s particularly impressive about it is that, unlike regular external solar panels, which only respond to direct sun rays, the desk works indoors, because it responds to diffused light. The current is accessible via two built-in USB chargers and any unused electricity is stored in a battery. A light display keeps track of how much power is available. "One cell needs about eight hours to fully charge a battery, and there are four cells for each USB port," Van Aubel explains. "The amount of sunlight the earth receives in one day could power all our electrical appliances for an entire year. The question is how to capture and store it, and how to transport it to where and where it is needed." The Current Table will go on display in Milan in April, as part of the Salone Internazionale del Mobile. Via PSFK.
Whether it's been six weeks, six months or six years, there's nothing quite like a romantic getaway to add a sense of excitement to a relationship. And now's the perfect time to explore even more of what our fine country has to offer for your next romantic escape. Canberra definitely fills the brief for a romantic getaway — and it's certainly much closer (and more affordable) than Paris. You and your plus one can enjoy stunning views from both the ground and the sky, plus luxe dinners and unique experiences that you may be able to tell the grandkids about one day. Here are five experiences you can have in and around the city that'll help you woo your boo. Please stay up to date with the latest ACT Government health advice regarding COVID-19.
Yeah, so this happened. Wellington pub The Green Man decided to go ahead and serve locally-brewed stout beer featuring a cheeky little amount of stag semen. While we're half-heartedly reeling and equally intrigued, we have a lot of questions. Responsible for this drinkable abomination are local Wellington brewers Choice Bros, probably looking for a little free publicity pre-Beervana. Well, they certainly got that. We're assured that the deer semen is "export quality", however that was judged. The stag was apparently "milked" and had a restful sleep afterwards. Warning, you might grab a sick bag for this next bit. According to the brewers, the stout beer apparently has a "creamy" mouthfeel. Ugh. "Everyone so far has swallowed and not spat… The beer itself is excellent. It’s a creamy chocolate stout with coffee notes. The semen… well that’s something you’ve got to experience to describe," pub director Steve Drummond, a man who clearly knows his sexual innuendo, told BuzzFeed. If you can believe it, this is not The Green Man's first time serving semen-infused bevs. Stuff reported that "In 2011 its apple-infused horse semen shots proved popular with women, while 2013 saw syringes of stag semen on offer." God help us all. After doing the calculations of the novelty factor to lifelong trauma ratio, we'd love to hear of any brave, disgusting souls who head down to The Green Man on Victoria Street in Wellington to try this horrific cocktail out. Please, show yourselves. Via BuzzFeed.
If all the edgy theatre and dance shows are making your head spin a little, give your brain a break with a few hours at the Village Sideshow. This freaky fun park at the Meriton Festival Village is packed with a variety of wild and wonderful experiences that will make your festival experience even more magical. Delights include dancing to your favourite song in a transparent, glitter-filled cube, swimming in a shipping container pool, and even getting up on stage with the Sydney Dance Company in their ground-breaking virtual reality film Stuck in the Middle With You. Open 4.30pm until late, closed Mondays. Images: Prudence Upton and Jamie Williams.
One of the many great things about living in Sydney is that, even when the cold sets in and the days grow darker, there's still plenty going on that will draw you out from underneath your doona. After all, culture stops for no season, which means you can expect a plethora of events to take over our fair city this winter. We've joined forces with Willoughby City Council to highlight a handful of the exciting happenings going on around the lower north shore. From thought-provoking artworks to gin tastings and rollicking musical numbers, there's sure to be something to pique your interest — whether you're a north shore local, or keen to hop across the bridge to get your culture fix. [caption id="attachment_811589" align="alignnone" width="1920"] Voices by Svetlana Reinish, Ukraine[/caption] CHECK OUT LUMINOUS PROJECTIONS AT CHATSWOOD NIGHTS The hustle and bustle of Chatswood CBD gets even more colourful this winter with Chatswood Nights (May 21–July 10) — a seven-week festival of lights, food and performances. From installations that turns The Concourse into a melange of light to a series of projections that explore themes including meaning and inspiration behind love, Chatswood Nights fuses aesthetics with thought-provoking concepts. As well as the captivating light shows, on Friday afternoons the lawn turns into a hub of music to set the mood for the evening. And, being Chatswood, you know there's an abundance of tasty food to get your hands on, too. GO ON A TOUR OF FINDERS GIN DISTILLERY Born from a love of travel, fine produce and craft products, Finders Gin Distillery was the first distillery to grace the lower north shore. So, if you love G&Ts any time of year, you'll want to check out this spot (if you haven't already). On Saturday afternoons, you can take a tour of the venue and learn about how Finders makes its batch-distilled vodka and award-winning gin. As part of the tour, you'll partake in a guided tasting session (because, of course, you want to sample the stuff), then once the tour's complete, you can kick back and work your way through the cocktail menu. [caption id="attachment_811596" align="alignnone" width="1920"] Robert Catto[/caption] CATCH THE GENRE-DEFYING GIG 'NEXT CHAPTERS' Billed as a combination of 'virtuoso musicianship and astonishing physical theatre', Next Chapters is the result of a collaboration between the Willoughby Symphony Orchestra and Australia's leading physical theatre troupe, Legs on the Wall. Playing at The Concourse in May, the show features a classical recital paired with aerial movement; an orchestral piece featuring acclaimed saxophone ensemble Nexas Quartet; a tone poem composed by Joseph Newton, winner of the 2021 Young Composer's Award; and, for the finale, Shostakovich's Ninth Symphony accompanied by Legs On The Wall. It's sure to be a spellbinding experience that will push the limits of whatever you thought you knew about orchestral concerts. Keen? Head to Ticketek to nab yourself some tickets. HEAD TO AN EXHIBITION ALL ABOUT ANIMISM Beyond Matter is an immersive exhibition, which combines sound, video, painting, sculpture and scents, exploring the concept of animism. For indigenous cultures around the world, animism — the belief that objects, places and creatures all possess a soul — has long formed everyday rituals and spiritual practices. In this exhibition at Willoughby's Incinerator Art Space, seven Australian-based artists explore this topic, with each bringing their unique perspectives. Entry to the exhibition is free, too, so there's no reason not to check this one out. SEE SMASH-HIT MUSICAL 'PRISCILLA: QUEEN OF THE DESERT' The Academy Award-winning film and hit Broadway musical that is The Adventures of Priscilla, Queen of the Desert is a cultural phenomenon. Now, an iteration of it is rolling the metallic bus — and killer disco soundtrack — into Chatswood's The Concourse this May by way of the Willoughby Theatre Company. Not only is the company the first NSW community theatre group to stage the much-loved favourite, but also, as Sydney was where the OG stage show launched, it marks a homecoming of sorts. For tickets, head to the Ticketek website. [caption id="attachment_812382" align="alignnone" width="1920"] Robert Catto[/caption] DIP A TOE INTO THE WORLD OF OPERA WITH 'THE MAGIC FLUTE' Mozart's famed opera, which premiered in Vienna in 1791, was an instant success. It remains a much-loved classic, thanks to its ever-relevant themes of enlightenment and ignorance; wisdom and truth; and finding one's way in the world. This winter, the tale of Prince Tamino and his daring adventure to rescue Pamina — aided by an array of musical instruments that possess magical powers — is coming to a lower north shore stage. Condensed from its original 165-minute running time to a (very) watchable one hour, this production of The Magic Flute is directed by Peter Coleman-Wright AO and performed by Pacific Opera and the Willoughby Symphony Orchestra. For tickets to Willoughby Symphony Orchestra's Next Chapters, head to Ticketek. To check out what else Willoughby Council has in store this winter, head to the website. Top image: Robert Catto
You might not know that noted film banger of the 00s Bring It On has been made into a stage musical — and, having already done the rounds on Broadway in 2012, it's going to cartwheel into Melbourne in June this year. Responsible for the phrase "cheerocracy" and your unrealistic expectations of high school, it seems the original movie still has some decent cultural capital to give. If you've been wondering, in the last 18 years, what exactly the world of competitive cheerleading might have going on with it these days, this musical is for you. If you had a Kirsten Dunst poster on the back of your childhood bedroom door, this musical is for you. To be honest, if you've watched the film even just a few times, it's probably for you too. With music and lyrics by Tony Award-winning composer Lin-Manuel Miranda (of Hamilton fame) and the stage adaptation by Jeff Whitty (Avenue Q), the musical is only loosely based on the original film of 2000, which starred your girls Kirsten and Eliza Dushku. Unlike the five sequels that followed the movie — all of which went directly to VHS — the musical looks like it has a refreshing amount of sass, cutthroat rivalry and aerial stunts. Bust out your best spirit fingers and get them tapping on your keyboard if you want tickets — Bring It On: The Musical is making its way to Melbourne's Athenaeum Theatre in June, but it's only going to be step-pivot-split jumping around town for a strictly limited run of ten shows. And keep them fingers crossed the show decides to make its way around the country. Bring It On: The Musical will run from June 7–16, 2018 at the Athenaeum Theatre, 188 Collins Street, Melbourne. Tickets are on sale now via Ticketek.
Two locally acquired cases of COVID-19 have been identified in Sydney, involving a man in his 50s and his wife — and, as a result, the New South Wales Government is bringing back a number of restrictions in the Greater Sydney region. Come 5pm today, Thursday, May 6, Sydneysiders will need to scale back their at-home gatherings, and also wear masks in indoor settings. In addition, singing and dancing indoors will be off the cards again. Announced this morning by NSW Premier Gladys Berejiklian, the changes only apply to the Greater Sydney area, which includes the Central Coast, Wollongong, the Blue Mountains and the region down to Illawarra. The new rules will be in effect until 12am on Monday, May 10 morning, too — and the Premier has advised that anyone who can adopt the new restrictions before 5pm today should do so. Within homes in Greater Sydney, only 20 people will be allowed, including children. "We know that transmission in the family home is a high risk," said Premier Berejiklian. She continued: "I appreciate that it's Mother's Day, but we also appreciate that 20 people within the home is manageable for people to celebrate that important day." Outside of the house, masks will be mandatory again in all indoor spaces. That includes public transport, supermarkets, retail stores, theatres and any indoor events. It also applies to workers in the hospitality industry — so, while no space, capacity or patron restrictions are being implemented in cafes, restaurants, pubs and bars as part of these new changes, folks will need to wear masks in hospitality venues for the next three days. And, if you're having a beverage in a bar, you're being asked to sit down. So yes, vertical drinking at pubs, clubs, restaurants and the like has been scrapped again, too. Plus, although dancing has only been back on the cards since late March, it'll be banned in indoor venues once again until Monday. Singing will be as well. At weddings, dance floors will still be able to operate, but they'll only be able to accommodate 20 people at once. https://twitter.com/NSWHealth/status/1390115056969404421 Premier Berejiklian said that the NSW Government isn't asking people to change their weekend plans. "Enjoy Mother's Day. Do what you would normally do. This is the opposite approach. We're saying to businesses to keep doors open," she advised. The restrictions are being put back in place after the two new NSW cases occurred in people who haven't been overseas recently, and don't work in hotel quarantine, border or health roles. NSW Chief Health Officer Dr Kerry Chant said that the sequence from the new case matches a case in a returned overseas traveller, but NSW Health hasn't been able to directly connect the two people as yet. "What we're concerned about is that there is a missing link — that there is someone, because there is no direct contact that we've been able to establish yet, between the cases," Dr Chant noted. Sydneysiders are also asked to continue to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited over the past week — and, if you've been to anywhere listed on the specific dates and times, get tested immediately and self-isolate for 14 days after your visit. In terms of symptoms, you should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Marvel's first Muslim superhero is coming to your streaming queue, but she'll have to conquer high school along the way. Come Wednesday, June 8, the ever-sprawling and always-expanding Marvel Cinematic Universe will add its seventh new TV series in 18 months to streaming platform Disney+, and it's all about Pakistani American teenager Kamala Khan — better known to comic-book readers since 2013 as Ms Marvel. Arriving three years after Captain Marvel, the series that shares Ms Marvel's name focuses on a Carol Danvers superfan — who happens to discover that she has superpowers, too. Kamala (debutant Iman Vellani) doesn't feel like she fits in her hometown of Jersey City, and often escapes into gaming, writing fan fiction and her extremely active imagination; however, everything changes when she learns that she has more in common with her idol than she ever realised. As Ms Marvel's just-dropped first trailer shows, viewers can expect teen dreams and high-school hijinks aplenty — but with a superhero twist. How Kamala will handle living out her fantasy life will fuel the show's six-episode first season, in the leadup to 2023 big-screen release The Marvels, which'll feature Brie Larson as Carol, Vellani as Kamala, and also WandaVision's Teyonah Parris as Monica Rambeau. Yes, while the MCU's slate of Disney+ series is taking a different approach in 2022 — focusing on bringing characters previously unseen on-screen into the fold, rather than giving existing franchise players their own shows (see: WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye) — it's still linking in with the bigger Marvel Cinematic Universe picture. Ms Marvel also gives the MCU a first — that aforementioned first Muslim superhero — after a decade and a half of hardly presenting diversity on-screen. Across the 28 films that will have hit cinemas before Ms Marvel drops, it took the MCU 18 movies to solely focus on a Black superhero, and 21 features across 11 years to do the same with a female superhero. It also didn't hand the directorial reins to a solo female filmmaker until its 24th movie, either —and, when Shang-Chi and the Legend of the Ten Rings and Eternals both released in 2021, they visibly and welcomely stood out from the bulk of the franchise in terms of representation. As well as newcomer Vellani, Ms Marvel's cast includes Aramis Knight (Into the Badlands), Saagar Shaikh (Unfair & Ugly), Rish Shah (India Sweets and Spices), Zenobia Shroff (The Affair), Mohan Kapur (Bullets), Matt Lintz (The Walking Dead), Yasmeen Fletcher (Let Us In) and Laith Nakli (Ramy). And, it'll hit your streaming queue following the MCU's other announced show for 2022 so far — the Oscar Isaac-starring Moon Knight, which arrives on Wednesday, March 30. Check out the trailer for Ms Marvel below: Ms Marvel will start streaming via Disney+ on Wednesday, June 8. Images: ©Marvel Studios 2022. All Rights Reserved.
Pick a genre, any genre, and the following statement will always prove true: no one does it like Steven Soderbergh. Now 36 years on from his Cannes Palme d'Or-winning narrative feature debut Sex, Lies, and Videotape, he's long been one of Hollywood's most-reliable filmmakers. The word 'reliable' can't capture the spark of a Soderbergh project, though — whether the ever-prolific director, cinematographer, editor and screenwriter is in heist mode in Ocean's Eleven, Ocean's Twelve, Ocean's Thirteen and Logan Lucky; predicting the COVID-19 pandemic via Contagion and then diving into its daily reality (and technology's hellscape) in Kimi; spinning a franchise out of Channing Tatum's IRL origin story with Magic Mike and Magic Mike's Last Dance; reimagining medical TV shows in stunning fashion courtesy of The Knick; or telling a haunted-house story from the ghost's perspective in Presence. Spies battling spies: as familiar as that setup is on screens big and small, no one does that as Soderbergh has with Black Bag, either. With his second cinema release of 2025 after Presence, and his third film out of his past four that's penned by fellow veteran David Koepp (Indiana Jones and the Dial of Destiny) — kicking off with Kimi, and again including Presence — he's in Mr and Mrs Smith and True Lies territory, but this take is a particular gem. Black Bag is a twisty and witty espionage thriller filled with secrets, interrogations, surveillance, polygraphs, redirected satellites and not knowing who is on the level. It's as much a smart and sexy relationship drama as well, however. How can any romance work, even a long-established marriage, when either party can explain away anything as part of their clandestine jobs — and when deceit is what each does for a living? Aptly, the picture's title references spy code for confidential missions and details that can't be shared. An especially great line of dialogue also sums up the scenario: "when you can lie about everything, how do you tell the truth about anything?". In Black Bag's opening scene, courtesy of a sublime tracking shot lensed by Soderbergh himself — who directs, shoots and edits the film, as he regularly does on his flicks — George Woodhouse (Michael Fassbender, Kneecap) winds from London's streets to an underground club to receive a new task. A well-experienced and highly regarded operative at the National Cyber Security Centre within Britain's Government Communications Headquarters, he now needs to ascertain who has betrayed the country by stealing a cyberworm called Severus, which can destabilise nuclear facilities. There's five names on his list, all his colleagues: Kathryn St Jean (Cate Blanchett, Disclaimer), Freddie Smalls (Tom Burke, Furiosa: A Mad Max Saga), Clarissa Dubose (Marisa Abela, Back to Black), Colonel James Stokes (Regé-Jean Page, Dungeons & Dragons: Honour Among Thieves) and Dr Zoe Vaughan (Naomie Harris, The Man Who Fell to Earth). Among the six NCSC employees, George included, there's three couples; Kathryn is his wife. The quest to ascertain who's behind the betrayal starts with a dinner party at George and Kathryn's home — one that's really an interrogation, aided by not just food and wine but truth serum. Clarissa is the youngest of the bunch and the newest to the job, with her relationship with the older, fond-of-a-drink Freddie already chaotic. Zoe is everyone's psychiatrist at NCSC, and the fact that James is both her patient and her lover is patently complicated. George and Kathryn seem to enjoy the ideal marriage, one revered by their co-workers and friends, yet he's suspicious of movie ticket stubs and sudden trips. Loyalties aren't just tested over the course of Black Bag's snappy 93-minute running time; so is love's resilience. For George, choosing between his wife and his nation threatens to become a real possibility. [caption id="attachment_995111" align="alignnone" width="1920"] David Dettmann/StillMoving.Net for Universal Pictures[/caption] Soderbergh and Fassbender first collaborated on 2011's Haywire, another sinuous (and ace) thriller with intelligence ties. Take that, mix it with Out of Sight's slinkiness and the filmmaker's long-established love of a caper, then throw in a bit of The Agency — Fassbender's recent and also-excellent TV series set in the spy realm, where personal and professional crises equally overlap — and that's Black Bag's wheelhouse. This is a fun film, too, and often very funny, as its guiding force perfects its balancing act with style, skill and supreme precision. (Part of the picture's sense of humour: casting former Bond Pierce Brosnan among its agents.) It puts Fassbender into another high-stakes workplace situation as well, as is clearly the case with The Agency. While Industry, aka one of the best shows the 2020s, plunges into the world of finance, it too dwells in cut-throat employment circumstances, so Abela is in somewhat familiar terrain herself. Again, of course, whenever Soderbergh is making a film or TV show, similarities elsewhere are superficial. Any parallels across the 12 Years a Slave and Steve Jobs Oscar-nominee's resume of late — after the Hunger, Fish Tank, Inglourious Basterds, Shame, Macbeth, two-time Alien saga and four-time X-Men franchise star's absence from acting from 2020–2022, as broken by 2023's The Killer — is "just the way it sort of fell", Fassbender tells Concrete Playground. For Abela, adding Black Bag to a filmography that also includes Cobra, Rogue Agent and Barbie began with being hooked by and "whizzing through" Koepp's entertaining screenplay, she advises. Fassbender jumping back in front of the camera for Soderbergh, the "I need to be in this" moment for Abela, the importance of this being a relationship drama as much as a spy flick, interrogation scenes, back-and-forth banter for a director supremely skilled at bringing it to the screen: we also chatted with Fassbender and Abela about it all. On Whether There's Something That Draws Fassbender and Soderbergh Together for Twisty Thrillers with Espionage Ties Michael: "No, it just happened that way. It was such a joy for me to get to work with him, especially so early on for me. And just to see that knowledge of film, and how to have an all-encompassing understanding of what a film is, how to make it, what makes a good film, the architecture of it all — that was clear from the first time when I was working with him. How he enters a room and scans the room, it's almost birdlike. His precision and the confidence. And now internally, he might have that, but it definitely permeates on set. You can see that all the other crew members love working with him as well — that's not exclusive to actors. [caption id="attachment_995112" align="alignnone" width="1920"] David Dettmann/StillMoving.Net for Universal Pictures[/caption] It's a very relaxed atmosphere, and he just lets you do whatever you're going to do. And it's quite intimidating at first — you're thinking 'I hope he, is he happy with this? We're moving on after two takes. Does he think that he's just not going to get anything better?'. But that's how he likes to go, I think — to find that first freshness of whatever was given, and what was captured in that fresh one or two or three takes. I'm so happy that we got together to work on it on something like this, with an ensemble cast. It's kind of like a play in certain respects — certainly the dinner table scenes." On How Abela Knew That She Wanted to Add Playing the Strong, Determined But Also Sensitive Clarissa to Her Resume Marisa: "I think that it was honestly with the script at the very beginning. It's quite rare, I think, to get a script where you're just whizzing through it and it's kind of reading itself — and you just feel by the end of it how much fun it would be to be a part of a project like that. And when I realised who else was involved — and obviously I knew that Steven was directing, but when I heard about Michael and Cate and everyone attached — I was just so excited to be a part of it. [caption id="attachment_995110" align="alignnone" width="1920"] David Dettmann/StillMoving.Net for Universal Pictures[/caption] And I think that Clarissa really spoke to me on the first read of the script. As you say, I think that she's incredibly, she cuts through anything that's going on because she's able to speak honestly from a place of strength — but also, I think from a place of innocence and wanting to find out what is at the heart of this world for all of these people. I think she's still figuring out, at the beginning of this movie, whether this is a world that she wants to be a part of or not — whereas I think everyone else is quite entrenched into it. So I think that that discovery is an interesting place to come to from her." On How Important It Was That Black Bag Is a Relationship Drama as Much as a Spy Film Michael: "It's all about the relationships. That's why it always makes me think of a play as well. You're watching these relationships play out, and each of them are connected to one another, whether they want to be or not. He says early on 'this isn't necessarily the dinner party that you would choose'. These people aren't necessarily going to go out and socialise with one another, but they've been brought together — and then through the course of the movie, you start to figure out how they're all entangled in one another and how messy it is. And it's so right what Marisa is saying about the character of Clarissa, is that she's looking at it as the new person coming in, the youngest person in the room, going 'this is bullshit — can't you all see it?'. And they're looking at her going 'give it time, you'll see'. And it's all those dynamics going on, which make it interesting. But for sure it happens to be set, which also makes it interesting, in the espionage world. But it's just about relationships." On Black Bag's Commonalities with Fassbender and Abela's Other Recent Roles Michael: "That just happened to me on the same week, Black Bag and The Agency came, actually. And it wasn't — that's just the way it sort of fell, and there were two interesting projects that I wanted to do. I didn't sit down and go 'okay, I'm going into spy territory now for the next few years'. It just happened that way, as it often does. And it's just about finding material that stimulates — and you feel like 'okay, this is for an adult audience that would enjoy sitting down, going on this journey'." Marisa: "I guess it's the same with Industry in a sense, in that it is kind of in a workplace environment,, but you probably couldn't get two more different places of work. Especially for my character, for Yasmin in Industry. I think she would make the world's worst spy, probably. It's quite interesting to play two young women in probably what are quite male-dominated environments. I've never had an office job, but neither of them are particularly regular jobs anyway, so maybe I'm just enticed into that world in some way." On the Keys to Making an Interrogation Scene Sing Michael: "I think the setup. A certain form of repetition. Humour. And then, of course, somebody in the room is lying and everybody knows that, so the tension builds from that." Marisa: "Steven is so brilliant at building the tension in those moments. And what's nice is that then that gives you the freedom, as the actors, to just play your reality of the scene. Obviously every character is playing to win in that moment, which is playing to tell the truth or to find out the truth — or to cover up a lie. But they should all hopefully be as good at looking like they're telling the truth as one another, no matter who is telling the lie, because it's what they do for a living. So you have this built-in tension into it, but we're just focused on playing to win. And then it's up to Steven to linger on whoever for however long and make the audience think whatever it is that they think in those moments." Michael: "And the foreplay to the actual interrogation itself. The rigging up of the equipment, increasing pressure on the blood-pressure armband. The fact that sweat is being read. The pulse in the fingers. The machine is scribbling constantly. And the camera's set on a particular face, where the camera goes for reaction — then it's the camera placement and what Steven does." On Bringing Back-and-Forth Banter to Life for a Director Who Has Made It a Hallmark of His Films Marisa: "I think he's really great at casting. That is a massive part of it. I think that he knows each of these individual six characters are so different and so distinctive, but there's a real chemistry when we're all together — and having a scene like that, or two scenes like that in our movie, where everyone actually does get the opportunity to play together, I think the chemistry just speaks for itself in that moment. We're really lucky that that happened. And then I think in terms of, like I said, you're just really playing those moments. I think something that, in that first scene, lends a hand for all of us is that we've taken this truth serum. So there's a freedom in that conversation. Especially with, that was my first scene with Clarissa, where she's able to be quite brazen with George specifically at that table. I think there's a freedom in knowing that she's taken this serum and she's intoxicated and she's not quite adhering to social norms and boundaries, as she should do. So there's a freedom that comes with that." Black Bag released in cinemas Down Under on Thursday, March 13, 2025. Film stills: Claudette Barius/Focus Features © 2025 All Rights Reserved.
Just a couple of months ago, spending a few hours in a cinema soaking in a dose of movie magic — and eating plenty of popcorn and choc tops — was a normal everyday activity. Since the COVID-19 pandemic hit, mass gatherings were banned and picture palaces closed, however, seeing a film on the big screen in a darkened room filled with other people has become a relic of the past. But with Australia slowly starting to relax coronavirus restrictions, that might only remain the case until mid-July. The National Association of Cinema Operators-Australasia — a nationwide organisation comprised of Australia's major national cinemas, as well as independent movie theatres — has announced that the country's big screens are aiming to open in time for the planned release of Christopher Nolan's Tenet, which is currently slated for Thursday, July 16. As reported by Variety, the NACO board said it "is enthusiastic about the prospect of reopening and is hopeful of conditions enabling it to do so in July". Some Australian states, such as Queensland and New South Wales, have already eased some stay-at-home requirements. More developments in this space are expected in the coming days and weeks — with some social distancing and public gathering rules likely to be limited this coming Friday, May 8, when the national cabinet next meets; Australia-wide principles regarding sport and outdoor recreation already proposed; and Queensland working towards a June reopening date for bars, cafes and restaurants. So, with that timeline in mind, letting folks back into cinemas by mid-July seems perfectly reasonable. There are two major caveats, though. The federal and state governments obviously need to allow cinemas to reopen, after requiring them to close back in March. And, cinemas need access to new movies to screen for audiences — which doesn't just depend on the coronavirus situation in Australia. Over the past few months, a huge number of big-name flicks have postponed their releases, setting new dates for later this year and even next year. This started happening even before COVID-19 cases ramped up outside of China and Italy, because when a new movie hits the silver screen, it's usually a global event. So, the likes of A Quiet Place Part II, No Time to Die, Fast and Furious 9, Wonder Woman 1984, In the Heights, Ghostbusters: Afterlife, Candyman and more all pushed back their release dates. Tenet wasn't one of them — in fact, it's one of the only movies that didn't move its original release date — but that could still happen, especially if American cinemas aren't ready to open by mid-July. Without a big movie like Tenet to screen — or Mulan, which moved its release date to Thursday, July 23, so the following week — it's possible that Aussie picture palaces will delay their plans, even if they've been given the go-ahead by the government to start their projectors again. And opening a huge blockbuster like the aforementioned movies in Australia weeks before they open in America just isn't going to happen. https://www.youtube.com/watch?v=LdOM0x0XDMo Either way, when Aussie cinemas do reopen, going to the movies won't be quite the same as everyone remembers. "The Board is very mindful of social distancing restrictions needing to be put in place and acknowledges that the impact this will have on trading due to these reduced capacities," NACO said in its statement. That also likely means bigger gaps between session times to avoid crowds milling about in the foyer, only partly filling theatres to ensure social distancing requirements can be met, making hand sanitiser available everywhere, cleaning cinemas more regularly, and preferring contactless and cashless transactions. For Queenslanders, these are some of the new strategies already being put in place at Yatala Drive-In — which first reopened over the weekend of May 2–4, playing movies that were screening in cinemas when they closed. The move was a success, so it'll be doing so again between May 7–10 and May 14–17. Via Variety.
There's a particular texture to Los Angeles after dark that suits stories of crime and self-interest to a tee. A desolate urban badland of freeways and fast food joints, there's this eeriness; this unnaturalness; this inescapable sense of menace; that seems to creep out of the concrete and set your nerves on edge. You can feel it in Michael Mann's Heat, or in Collateral a decade later. You can feel it in sections of Nicholas Winding Refn's Drive. And you can feel it in Nightcrawler, from writer-director Dan Gilroy, as it glides out of the darkness and seizes you by the throat. Always at his best when playing characters gripped by obsession — Jack Twist in Brokeback Mountain, Robert Graysmith in Zodiac, or Detective David Loki in last year's masterful Prisoners — Jake Gyllenhaal is in career-best form as Lou Bloom, Gilroy's unsettled protagonist, and our tour guide through the sordid LA underbelly. Inspired after witnessing a car accident, Lou decides to carve out a career as a 'nightcrawler', videotaping crime scenes and selling them to a local TV station for broadcast on the 6am news. Read our full review here. Nightcrawler is in cinemas November 27. Thanks to Madman Entertainment, we have ten double passes to give away in each city. 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
A near-silent depiction of a nightmare boarding school for girls, a stage adaptation of a 1950s pornographic novel, a drag odyssey through Australian history — this is hardly the usual fare for the MTC crowd. Yet it's all on the program at NEON, the Melbourne Theatre Company's festival of independent theatre. It's packed with the kind of edgy theatre-making you'd more expect to find in shoebox venues around Fringe season, rather than in a mainstream house like Southbank Theatre. It is, says artistic director Brett Sheehy, one of the company's most significant initiatives to date. "With NEON, we celebrate Melbourne's unique and thriving independent theatre landscape and its astonishing artists," Sheehy says. "Part of our mission is to literally throw open our doors to all of Melbourne and to make Southbank Theatre a place of connection, accessibility and welcome, no matter what form of theatre Melbourne desires." For the festival, which runs from May to July, 2013, Sheehy approached five of Melbourne's most innovative little theatre companies — The Hayloft Project, THE RABBLE, Daniel Schlusser Ensemble, Fraught Outfit and Sisters Grimm — and offered them free access to MTC's stage and technical resources, as well as free creative rein. Benedict Hardie of The Hayloft Project, whose By Their Own Hands looks to be a confronting and stripped-back take on Greek tragedy, says that while creative freedom comes with the territory of independent theatre, practitioners need to work hard for that freedom and it is rare to get the kind of support MTC has offered. Having that support, Hardie says, has enabled the artists involved to push themselves further creatively. "It's an opportunity to dream a bit bigger," he says. The shows on the lineup promise to be confronting, intense, bizarre or even — as with THE RABBLE's adaptation of Story of O, a French novel that was the 50 Shades of Grey of its day — erotic. THE RABBLE's co-artistic director Emma Valente sees the festival as a turning point for the companies involved, not just because of the resources and the greater audience potential provided by MTC but because of what the very existence of the festival says about changing attitudes toward the independent theatre scene. "What it means for independent theatre at large is exciting," says Valente. "In fifteen years doing independent theatre, playing in a mainstream house is something I never would have thought possible." The festival opened on May 16 with Menagerie, Daniel Schlusser's homage to Tennessee Williams and will also feature a program of forums and free workshops featuring a topnotch lineup of playwrights, producers, performers and critics. So whether you are an audience member avid for the avant garde or an underrated artist working on a society-shaking script of your own, Southbank Theatre is, perhaps surprisingly, about to become the place to be. To see the full program of events, head to the MTC website. Tickets to each show are $25, or you can see all five for $100. Top image: The Hayloft Project by Patrick Boland. Second image: Daniel Schlusser Ensemble by Sarah Walker.
Fond of Netflix? Regal intrigue? Combining the two? Then you're obviously a fan of The Crown. And, if so, you've had a busy few years — not just because the series has dropped four seasons since 2016, but because news around the show's fifth and sixth seasons has changed back and forth a few times. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. The, the streaming platform had a change of heart, revealing it would continue the series for a sixth season after all. Now, the service has announced when the next batch of episodes will air, so mark November 2022 in your diary. When season five premieres next year — with the exact date still yet to be revealed — it'll do so two years after season four. But, that's the gap that The Crown tends to take when it changes casts. After starting out with Claire Foy (The Girl in the Spider's Web) as Queen Elizabeth II, Matt Smith (Official Secrets) as Prince Philip and Vanessa Kirby as Princess Margaret (Pieces of a Woman) in its first two seasons, which aired in 2016 and 2017, the series returned in 2019 with Olivia Colman (The Father), Tobias Menzies (This Way Up) and Helena Bonham Carter (Enola Holmes) in those roles. Plus, it added Josh O'Connor (God's Own Country) as Prince Charles — and, in season four in 2020, Emma Corrin (Misbehaviour) and The X-Files icon Gillian Anderson joined the cast as Lady Diana Spencer and British Prime Minister Margaret Thatcher, respectively. This time around, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes, and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki will be the new Princess Diana, while The Wire and The Pursuit of Love's Dominic West will play Prince Charles. Season five and six are expected to follow the Queen in the 1990s and 2000s — so yes, that means that Diana will play a big part, and that the series will traverse some of the same territory that Kristen Stewart-starring film Spencer covers as well. Can't wait till next year? It's too early for trailers for season five, but Netflix has dropped an introductory message from Staunton, which you can check out below: The Crown's fifth season will hit Netflix sometime in November 2022 — we'll update you with an exact launch date when one is announced. Images: Keith Bernstein / Alex Bailey / Netflix
Everybody loves food. The glorious stuff keeps us alive, after all. But our relationship with it is so much more than just one of sustenance. It's a deep love based on bold flavours and gastro-satisfaction — and it's a love so strong that we're willing to cross seas, hop on rickety buses and pay big money to travel far-flung countries just to get our hands on what could be the world's best sandwich, or the perfect cup of coffee. Culinary tourism is one of the top reasons people travel, and travelling for a food festival is one of the most hectic, informative and fun ways to immerse yourself in the city's food culture. So take a coffee break and scroll through some of the world's most delicious food festivals. They're events we reckon are worth dusting off the passport and busting out your custom chilli spoon for. And even if you can't make it to the actual event, it might at least give you an inspired idea of what to eat for dinner tonight. AUSTIN FOOD + WINE FESTIVAL, TEXAS, USA Austin has long been the culinary darling of the United States, and the glorious April feast that is the Austin Food + Wine Festival is the best way to find out why. As well as artisanal food and booze from a slew of local vendors, there's usually a fire pit, a taco showdown, interactive demonstrations, live music and meet and greets with America's top chefs. There's so much on you won't even be thinking about the exchange rate — just about how much you can fit in your tummy. When? Late April. COPENHAGEN COOKING, COPENHAGEN, DENMARK So we all know about Noma (especially after Rene Redzepi brought the restaurant to Sydney earlier this year), but do you know anything else about Danish cuisine? Probably not. But your one-way ticket to finding out is attending the Copenhagen Cooking food festival. This lovely little festival (which was in fact modelled in part on Melbourne Food and Wine Festival) will have you biking all over the small city to eat all the smørrebrød and skagen you possibly can. They also have a heap of good coffee and natural wine to try. The festival itself includes a wide range of events, from slow food dinners held in barns on the outskirts of town to cupping sessions and a long table outdoor feast that takes over a street in the city's Frederiksberg area. When? Late August. [caption id="attachment_594133" align="alignnone" width="1280"] Seth Lui via Singapore Food Festival[/caption] SINGAPORE FOOD FESTIVAL, SINGAPORE The entirely unique blend of cultural flavours (and price points) that is Singapore's cuisine jumps out at you like nobody's business at this annual celebration of eating as much as you deem safe. At the Singapore Food Fest, top chefs (many Michelin-starred) re-imagine classics in market stalls, and street vendors around town dish out every delicious colour of the foodie rainbow. This year they were even serving up something called laksagne — that's laksa-flavoured lasagne. Yep. When? Mid July. FOOD AND FUN FESTIVAL, REYKJAVIK, ICELAND With Iceland's relative proximity to the well-known food scene of Copenhagen (thanks to Noma) and the fact that it's on just about every traveller's bucket list, it's no surprise to see the culinary delights of Reykjavik becoming more and more popular. The most popular food event in the nation's capital, the Food and Fun Festival, sees restaurants across the city gather together to showcase Iceland's best home-grown produce over a few days in March. When? Early March. [caption id="attachment_594107" align="alignnone" width="1280"] Binder.donedat via Flickr.[/caption] PHUKET VEGETARIAN FESTIVAL, PHUKET, THAILAND Although it's already passed us by this year, the Phuket Vegetarian Festival is definitely worth marking down on your travel calendar. The festival is actually a religious one, and celebrates the Chinese community's belief that abstaining from meat and other stimulants during the ninth lunar month and praying to the Nine Emperor Gods for good health and peace of mind. It packs in ten days of intricate ceremonies — from fire walking to others too gruesome to mention — all while following a strict vego diet. Their mock meat game is strong and the food is stellar, with nature's produce being cooked with such skill that it'll probably never taste better. Remember this is a religious festival though, and if you attend you'll have to follow the festival's ten rules (no alcohol is one of them). When? Early October (but changes with the lunar calendar). L'APLEC DEL CARAGOL, LLEIDA, SPAIN Deep in the heart of Catalonia lies the city of Lleida — and every year in May, it plays host to up to 200,000 visitors for the annual gathering of snails. Essentially, it's a huge snail feast. The festival, named l'Aplec del Caragol, lays it on with parades, bands and whole mess of snails to consume. Last year, twelve tonnes were demolished across the weekend. When? Late May. WINE & FOOD FESTIVAL, CANCUN, MEXICO Legging it to a destination for food doesn't necessarily mean sticking with the local offerings, so why not treat yourself to a festival of pure world class gastronomy? Cancun's Wine & Food Festival is regularly hosted by some of the best chefs in the world, and it comes with the jaw dropping scenery of Caribbean in the background. Plus, you can snack on street tacos in-between events if you're still hungry. When? Early October. LE SALON DU CHOCOLAT, PARIS, FRANCE This one's pretty straight up and simple: a four-day chocolate festival in Paris. Le Salon du Chocolat sees hundreds of pastry chefs, chocolatiers and confectioners from all around the world descend on Paris for a whole long weekend's worth of take my money now. That's a bender to really get behind. When? Late October. Top image: Copenhagen Cooking.
Yeah, yeah it's chilly. We know. We get it. Polar bears get it. Uniqlo gets it. Layer up, ditch that scummy polar fleece rug and get out of the house this weekend. Hardcore weekenders could line up for the Game of Thrones exhibition, while the less queue-enthusiastic should hit up one of these sweet things happening aroundaboutown. At the very least you'll have 'grammable material for your friends still wallowing at home. Justene Williams @ Artspace The Curtain Breathed Deeply is Justene Williams’ most ambitious venture to date. It is an elaborate ecosystem bursting with found objects and messy edges. Flanking the ute-and-genitals centrepiece, there are two tarpaulin curtains embellished with all kinds of materials. There’s some duct tape crosshatching, crinkly gold wrapping paper and plastic discs that look like road reflectors. Behind these mixed media murals are a series of video installations. Put simply, there's a large red room, a blue room and a few other nooks tucked in and around. Williams' brand is a theatre of excess with a taste for the exotic. And The Curtain Breathed Deeply is an immersive sensory experience to say the least. Full of joyous and psychotic energies, it's like being inside the artist's head. It’s a fairly nonsensical universe. But it’s a fun one. When: Thursday, 26 June - Sunday, 10 August Where: Artspace , 43-51 Cowper Wharf Road, Woolloomooloo NSW 2011 How much: FREE #FOMO #FOMO is a group art show that seeks to answer the age-old question: why can’t we just stay at home on a Saturday night watching reruns of Friends with our simple, earthly possessions and without the pangs of social unease?Artereal Gallery have taken it upon themselves to appropriate the social ill and, in #FOMO, have extended the phenomenon past the fear of missing out on social events, to missing out on owning and consuming artwork. Curator Rhianna Walcott has chosen four emerging and established artists from Sydney to exhibit their FOMO-related art, including performance artist Liam Benson, Criena Court, Tully Arnot and Louise Zhang. Not to be missed. Seriously. When: Thursday, 3 July - Saturday, 2 August Where: Artereal , 747 Darling Street Rozelle NSW 2039 How much: FREE Tiny Ruins If ever your heart could be hugged by a live show, Tiny Ruins will leave yours well and truly cuddled. Following the release of their enchanting folk release Brightly Painted One, the native New Zealanders will head to Australia to crank out their softly spoken repertoire in a national tour. As well as giving their newest album a big ol' run around, Tiny Ruins will revisit tunes from their 2010 release Some Were Meant for Sea as well as their 2013 EP Haunts. Tiny Ruins are no stage hogs, inviting their buds Shining Bird along for the ride this time. When: Friday, 4 July - 8:00pm Where: Good God Small Club , 53 - 55 Liverpool St Sydney How much: $28.60 Poepke’s Archives When it comes to short-lived pop-up outlets, they're aren't really any official rules. Yet it seems that Poepke must be breaking a few with their Archives pop-up this winter. The Paddington boutique is hosting a temporary vendor within the four walls of their existing store. During May, you could submit items for consideration (dry cleaned, of course), from labels Peopke has carried or is currently carrying. Now they're selling them on a consignment basis, and you'll pocket the cash. It's like a giant community garage sale, but instead of scoffing neighbours pretending they're from Antiques Roadshow, they'll just be other Poepke fans hungry for that silk shawl you snapped up last winter. It's part op-shop, part stocktake sale, part elusive event. Whatever it actually is, you'll be able to turn up and nab both unworn and pre-loved clothes, shoes and accessories. When: Saturday, 28 June - Monday, 28 July Where: Poepke , 47 William St, Paddington 2021 How much: FREE My Name is Truda Vitz Staging the stories of holocaust survivors can be tricky business, particularly when pivoting between multiple generations. But theatre can also be a therapeutic means of exorcising the demons of history and finding glimmers of optimism. Written and performed by Olivia Satchell, My Name is Truda Vitz at the TAP Gallery, is a musical and semibiographical play that manages to strike the right levels of light and shade. Directed by Pierce Wilcox, it is a profoundly personal tale that sees a modern-day Sydneysider step into the shoes of the grandmother she never met. When: Wednesday, 25 June - Sunday, 6 July Where: TAP Gallery , 278 Palmer Street, Darlinghurst How much: $20 - $25 Tim's Vermeer Watching a man painstakingly recreate an oil painting doesn't exactly sound like the basis for a winning documentary. Yet in the hands of popular TV double act Penn and Teller, that's exactly what it turns out to be. Told in clear, accessible terms that laymen can understand, Tim's Vermeer is a lively, intriguing look at the line between artist and inventor, one that challenges the very notion that the distinction should be made at all. When: Thursday, 3 July - Wednesday, 30 July Where: Selected Cinemas How much: $15 - $25 The Bourbon's Fourth of July Party Given the American food craze that swept through Sydney last year shows no sign of slowing, it's more than appropriate that one of our top US-inspired venues is throwing a Fourth of July party to celebrate those iconic stars and stripes. Independence Day at The Bourbon — the King Cross landmark with the shady past and shiny, New Orleans-style makeover — will be led by the soulful tunes of Chicago native Doug Williams. James Metcalfe (formerly of Becasse and Charlie & Co) as its head chef will front up a 13-strong canape selection. Southern-inspired Cajun shrimp will be served alongside mini chilli dogs, New York bagels and waffles with chocolate sauce — plus, you can expect a cocktail on arrival, popcorn, fairy floss, cheerleaders, foosball tables and photo booths. When: Friday, 4 July - 6:00pm Where: The Bourbon , 22 Darlinghurst Road Potts Point 2011 How much: $52.79 Bacon and Egg Rolls If any sandwich were to receive an Order of Australia medal, it would be the bacon and egg roll. Artfully combining everyone’s favourite breakfast combo (bacon and eggs) with everyone’s favourite carbohydrate vehicle (bread), this humble sandwich attracts widespread adoration. You can get one for a few coins at a barbecue outside your local Bunnings or for the hefty fee of $16 at Bronte’s chef-hatted cafe Three Blue Ducks. The Bacon and Egg Roll Project blog — run by Concrete Playground reviewer Kara Jensen-Mackinnon and her colleague at The Roast Evan Williams — is dedicated to rigorous B&E taste testing in order to ultimately crown one bacon and egg roll to rule them all. Check out this smorgasbord of their most telling B&E experiences so far. When: Whenever you're feeling the need for crispy, runny goodness Where: These juicy joints How much: $1-16 depending on your level of indulgence
There's something incredibly captivating about sharks. They're the subject of plenty of thrilling Hollywood blockbusters, the source of much debate and fear, and are undeniably majestic as they cut through the ocean. But, it's not often you have the chance to get up close and personal with the apex predators of the sea. Sea Life Sydney, however, is letting you do just that at its Evening of Shark Discovery — from a safe spot behind the glass, of course. On Wednesday, February 26, head to the aquarium after hours where you'll hear from three shark and wildlife experts, before witnessing an action-packed nocturnal feed of the green sea turtles, black and white tip reef sharks and sawfish at the Day and Night on the Reef exhibition. Explore the aquarium without the crowds from 6pm, before talks from zoologist and lead scientist of Sharks and Rays Australia (SARA) Barbara Wueringer, Emmy-nominated underwater cinematographer Jon Shaw and conservation biologist and behavioural ecologist Adam Stow. The three will be discussing Australians' attitudes towards sharks and how important the animals are to the future of our oceans. Tickets are $65 and include an alcoholic beverage and a $10 donation to Sea Life Trust and SARA. An Evening of Shark Discovery runs from 6–8.30pm.
UPDATE, December 4, 2020: Sound of Metal opened in select Sydney cinemas on Thursday, December 3, and also streams on Amazon Prime Video from Friday, December 4. When Sound of Metal begins just as its title intimates, it does so with the banging and clashing of drummer Ruben Stone (Riz Ahmed, Venom) as his arms flail above his chosen instrument. He's playing a gig with his girlfriend and bandmate Lou (Olivia Cooke, Ready Player One), and he's caught up in the rattling and clattering as her guttural voice and thrashing guitar offers the pitch-perfect accompaniment. But for viewers listening along, it doesn't quite echo the way it should. For the bleached-blonde, tattooed, shirtless and sweaty Ruben, that's the case, too. Sound of Metal's expert and exacting sound design mimics his experience, as his hearing fades rapidly and traumatically over the course of a few short days — a scenario that no one wants, let alone a musician with more that a few magazine covers to his band's name, who motors between shows in the cosy Airstream he lives in with his other half and is about to embark upon a new tour. 'Heavy metal drummer loses his hearing' is the six-word way to sum up Sound of Metal, but that's not all the film is about. Ruben's ability to listen to the world around him begins to dip out quickly and early — a scene where he's driving is methodically crafted to convey to the audience just how out of the blue and jarring it is — leaving him struggling to cope. It's how he grapples with the abrupt change, and with being forced to sit with his own company without a constant onslaught of aural interruptions distracting him from his thoughts, that the movie is most interested in, however. Ruben feels a sense of loss and also feels lost. As the awards-worthy soundscape makes plain, he feels both cast adrift and assaulted. With apologies to cinema's blockbusters (which usually monopolise the sound categories come Oscars time), no other feature this year mixes its acoustics together in as stunning and stirring a fashion, and also bakes every single noise heard into its script, and its protagonist's journey, as well. Reluctantly, Ruben takes up residence at a rural community for addicts who are deaf; he's four years clean himself, but the turn of events has Lou worried. While he's in the care of the soulful Joe (Paul Raci, Baskets), an ex-soldier and ex-alcoholic with kindness seeping from his pores, Ruben must move in alone — farewelling the love of his life and their shiny caravan. Again, he's unmoored, even as he's welcomed in by other residents and the children at the school where he's taught sign language. Although Joe stresses that deafness isn't something that needs to be fixed, Ruben is obsessed with rustling up the cash for a surgically inserted cochlear implant. The movie's most telling sequence, though, comes when Joe notices that Ruben literally can't sit still or stand his own company, and tasks him with spending his days in a quiet room unburdening his angst onto a piece of paper. On the first go, he's so distraught and so desperate to escape his brain that he smashes a doughnut as if he was beating a snare in an intense solo. 'Intense' is the word for Sound of Metal, and for its decision to express Ruben's distress as immersively as possible. It's also a term that doesn't completely do the movie justice. Making his feature directing debut, and co-writing another screenplay with filmmaker Derek Cianfrance as he did with 2012's The Place Beyond the Pines, Darius Marder turns his picture into a masterful exploration and skilled evocation of the kind of anxiety that's drummed deep into a person's darkest recesses. Viewers don't just hear what Ruben hears, but also feel what he feels as he rages and rallies against a twist of fate that he so vehemently doesn't want yet has to live with. While the film specifically depicts hearing loss, it's so detailed and empathetic in conveying Ruben's shock, denial, anger and hard-fought process of adjustment that it also proves an astute rendering of illness and impairment in general. That's Ahmed's recent niche; in two consecutive roles in just the past year, the always-excellent actor has played musicians who are blindsided by their health and the impact of a sudden affliction on their future. This year's Berlinale-premiering Mogul Mowgli, where he steps into the shoes of a British Pakistani rapper with an autoimmune condition, doesn't just pair perfectly with Sound of Metal. Together, the two movies demonstrate how committed Ahmed is to telling such tales in a piercing, probing, visceral and lived-in way. Here, he learned to play the drums and American Sign Language. What resonates as persistently as the muffled buzz that replaces Ruben's ability to discern ordinary sounds, though, is how affectingly and attentively his on-edge but also vulnerable portrayal is attuned to the everyday grief that comes with his character's situation. Losing a part of yourself, whether it's an actual sense or the sense that you'll always be healthy, is dispiritingly tough. Accepting and making the most of that scenario is just as difficult. Being deaf shouldn't be considered a state that needs to be cured, as Joe rightly espouses, so Ahmed's powerfully physicalised performance shows the fight and fortitude it takes to get to that place mentally and emotionally. From the exceptional work of supervising sound editor Nicolas Becker (Suspiria, American Honey, Gravity) to the urgent, in-the-moment cinematography favoured by Daniël Bouquet (Elektro Mathematrix), every choice made under the talented Marder's guidance has the same outcome as well. Indeed, when Sound of Metal ends — not with a bang, nor a whimper, but with a quiet yet potent moment — it has taken its audience deep into Ruben's journey, made those on- and off-screen confront both specific and existential anxiety, and rousingly, movingly and sensitively challenged traditional depictions of and attitudes towards disability in the process. https://www.youtube.com/watch?v=VFOrGkAvjAE
When winter hits in 2021, Sydneysiders can prepare to be ensconced in projections once again. After taking a year off in 2020, Vivid Sydney's annual festival of light, music and ideas will transform the city over 23 nights with a jam-packed lineup of cultural events, pop-ups and activations. Public spaces across Sydney will be treated to Vivid's beloved light installations — including the previously announced Cockle Bay light walk and Customs House's 3D visual storytelling project, and the freshly revealed activation Fall, a multi-sensory experience in The Rocks playing off the heritage area's leaky drains as a comment on our collective water consumption. The program's lineup will sprawl across iconic Sydney buildings and open spaces in Circular Quay, The Rocks, Barangaroo and Darling Harbour. [caption id="attachment_761801" align="alignnone" width="1920"] Jordan Munns[/caption] In Circular Quay, the Sydney Opera House's sails will light up with a digital rendition of Yarrkalpa (Hunting Ground), a stunning painting created by the Martu Artists of the Pilbara region. Inside and in front of the iconic harbourside venue, Vivid Live will feature an array of boundary-pushing and fan-favourite musicians from Australia and New Zealand. Across the three-week festival, music fans can catch the world premiere of Sampa the Great's new stage show, a tenth anniversary showcase of Sydney record label Astral People, rock and jazz legends Gareth Liddiard (The Drones), Jim White (Dirty Three) and Chris Abrahams performing together, plus sets from Golden Features, Flight Facilities, Hermitude, Gordi, G Flip, Miiesha and Connan Mockasin. [caption id="attachment_813276" align="alignnone" width="1920"] Image: Vivid Sydney, 2019[/caption] English actor and The Good Place star, Jameela Jamil will appear as part of Vivid Ideas, discussing body positivity, social media, diet trends and mental health via a virtual talk with Australian author and podcast host Jamila Rizvi. Elsewhere on the Vivid ideas program, Magda Szubanski will discuss the importance of art and laughter, and Briggs will be joined by YouTuber Nat's What I Reckon to discuss mental health while discussing food and music they've been loving. Author of Honeybee Craig Silvey will also be in attendance with screenwriter, performer and multi-disciplinary "trans queen" Glace Chase to talk gender fluidity and representation. Away from the Sydney Opera House, cultural events will activate across the city. Carriageworks will play home to a Cantina OK! pop-up, featuring food and cocktails from the CBD bar, a roster of DJs and performances from King Gizzard & the Lizard Wizard and Amyl & the Sniffers. LGBTQIA+ party collective Heaps Gay will bring its Kween's Ball to Luna Park, while FBi Radio will invite audiences into their studio for performances from local musicians. The UTS Great Hall will host a series of talks, seminars and film screening, and the Australian Museum, Parliament House, MCA, the Powerhouse Museum and Maritime Museum will all continue with their after-dark culture series Up Late. [caption id="attachment_809934" align="alignnone" width="1920"] Image: Destination NSW, an artist's render of a Vivid installation.[/caption] Vivid will run from Friday, August 6 until Saturday, August 28. You can check out the full program via Vivid's website.
You may think you have a good handle on David Attenborough docos by now. He waltzes into an amazing natural landscape, dispels an extraordinary amount of knowledge on Everything in the Entire World, and promptly films something incredibly disgusting or depressingly ruthless. I think we're all still trying to forget that time he narrated hermaphroditic slug sex. Nevertheless, his latest venture is set to blow your mind all over again. Returning to Australia in November, this legendary, knighted filmmaker is filming his latest work in 3D at the Great Barrier Reef. Intended as a three-part series, Attenborough is excited about the possibilities of filming underwater in 3D. "People will think ‘for God’s sake not another program on the Barrier Reef. Haven’t we done enough?’ But underwater is a marvellous subject for 3D, I mean it really is absolutely breathtaking," he told The Herald Sun, sporting his trademark British charm. But honestly, we have no idea why Attenborough feels the need to convince us. While we've felt a little tired with the gimmick of 3D in recent years, this is the type of work the technology was made for. Attenborough won't be diving himself — give him a break, he's 88 years old — but he will be exploring the reef with the help of new underwater equipment that renders an incredibly high resolution. Though nothing has been released about the content of the series, Attenborough will more than likely be covering the political and environmental problems the reef has faced in recent times as well as its friendly fauna. It's a topic that has been in the news once again with #fightforthereef emerging on everyone's Twitter feeds earlier this year. Between global warming, the threat of coal ports in surrounding areas, and questionable preservation practices from the state and federal governments, the World Heritage listed site has faced a lot of problems in recent years. Documentary filming begins in November, but we won't know how far off the actual film is for months yet. Regardless, get ready to be transported directly to the heart of all your underwater Disney dreamlands. This is going to be well worth the IMAX money. Via The Herald Sun. Photo credits: ciamabue, stuandgravy, robdownunder, richard ling, richard ling via photopin cc.
Every Italian will tell you that no one cooks like their nonna — and to prove that claim true, Sydney's best Italian chefs and their grandmothers are teaming up for a brand new two-week festival of Italian deliciousness. Running from November 17–27, the Festival of Nonna will be a celebration of the traditional matriarchs of the Boot, with a whole fortnight filled with dinners, drinks and workshops at Redfern's 107 Projects. Preented by Sandhurst Fine Foods, it will show off the modern interpretation of Italian food coupled with the tried-and-tested traditions that make the cuisine so damn good. Sydney chef and restaurateur Andrew Cibej (of 121BC, Berta and Vini fame) will be teaming up with his mum to host a pop-up trattoria on the rooftop of 107 Projects. Together they'll host eight meals over the two weeks, where they'll showcase Andrew's skills that have fed hungry Sydneysiders for years, and pay homage to the humble roots of his craft. "Nonna taught me everything I know about the importance of fresh and simple ingredients," Cibej says."But I always show her a thing or two about throwing new flavours or techniques into the mix." For those keen to cook like nonna does, chefs — including two Luca Ciano of Milan's two Michelin-starred Il Luogo di Aimo e Nadia, Massimo Mele of the Woollahra's now-closed La Scala on Jersey, and MasterChef's Sara Oteri — will have their own grandmothers in tow to deliver hands-on demonstrations that show off the tradition and the techniques of crafting the perfect Italian meal. Tickets for the workshops are $30 a pop, while tickets for the pop-up dinners are $50 and include five courses with paired wines and a sweet party bag. Many of them are already booked out — so hop to it. The Festival of Nonna will run from November 17-27 at 107 Projects, 107 Redfern Street, Redfern. For more info, visit festivalofnonna.com.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=wu9wL8sDhXE SUPERINTELLIGENCE Playing a former couple who reconnect and reignite their spark, Melissa McCarthy and Bobby Cannavale have great chemistry together in Superintelligence. This isn't the first time they've featured in the same movie, thanks to 2015's Spy, but there's an energy to their work opposite each other here. She's Carol Peters, an ex-Yahoo executive who quit her job eight years ago with a dream of moving into philanthropy. He's George Churchill, a creative writing professor. Carol still thinks about George two years after their breakup and, when they re-meet-cute in a supermarket, he's happy to see her — although he is flying out to Ireland in three days to take up his dream academic job. There is enough to the concept just described to furnish a likeable albeit predictable rom-com that coasts by on McCarthy and Cannavale's charm and charismatic pairing. A film that simply followed the above story would be straightforward, but Superintelligence shows that it'd likely work. Alas, Superintelligence makes Carol and George's romantic antics the subplot in a movie that's actually about a sentient artificial intelligence that's trying to decide what to do about humanity, chooses Carol as an example of the most average person on earth, and pushes her to get back with George so it can observe, judge her actions and extrapolate what it might mean about people in general. Unsurprisingly, the tech side of the story crashes hard. As everything from Her and Ex Machina to the Terminator and Matrix franchises have shown, films about AI aren't new — and nor are movies about technology threatening to eradicate or enslave humanity — so a wealth of far better features have already traversed this territory. And while screenwriter Steve Mallory (The Boss) has come up with a twist on the idea that he seems to think is brilliant, it really isn't. How can it be when his killer concept just involves said artificial intelligence being voiced by James Corden, and that fact being recognised in the story because Carol is a big fan? If you're not as fond of Corden as she is (likely because you've seen Cats and The Prom), you won't be laughing. It wouldn't be funny even if you did like his work. It's a one-note gag, and a grating one at that. It also chews up far too much of Superintelligence's running time, when viewers would always rather be seeing McCarthy and Cannavale together without any silly gimmickry. The former's husband Ben Falcone directed the film, as he did with Tammy, The Boss and Life of the Party, but that can't explain why the movie squanders the best thing it has. McCarthy's career constantly swings from highs to lows (Can You Ever Forgive Me? and The Happytime Murders came out in the same year, for instance), but Superintelligence is both misguided and a missed opportunity. https://www.youtube.com/watch?v=6nmsIChFUCo DREAMLAND Back in 2013's The Wolf of Wall Street, Margot Robbie didn't simply hold her own against Leonardo DiCaprio. The Australian actor stole scenes from her then far-more-famous co-star — which, given that he put in a phenomenal performance, is no small task. Accordingly, the fact that she quickly rocketed from supporting player to the kind of lead that an entire film can hang from is hardly surprising. Her path from Suicide Squad to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) illustrates it perfectly, in fact. Still, even Robbie's ability to lift a movie has its limits, which Dreamland tests. She's both luminous and textured in the Great Depression-set thriller. Playing a bank robber on the run, she's the most absorbing and intriguing part of the film. She's meant to be, because that's how and why her character of Allison Wells draws in Texan farm boy Eugene Evans (Finn Cole, TV's Animal Kingdom) and gets him to help her. And, Robbie is clearly invested in the movie both on- and off-screen, as she not only stars but also produces. That said, very little about Dreamland other than her performance proves anything more than standard, and noticeably so. Director Miles Joris-Peyrafitte (As You Are) aims to follow in the footsteps of Badlands and Ain't Them Bodies Saints — and brings Bonnie and Clyde to mind, too — but flails in comparison to both. Dreamland does boast a gorgeously hazy, woozy aesthetic — through the hues that cinematographer Lyle Vincent (A Girl Walks Home Alone at Night) splashes across the screen, primarily — that gives it an enticing look and feel. In quick square-framed shots inserted to represent flashes of dreams of a life that could possibly come if everything goes Allison and Eugene's way, the film couldn't be more alluring. But, alongside Robbie's performance, that isn't enough to boost the routine storyline. Indeed, at times the movie's visual style even augments and bolsters Dreamland's been-there, done -hat air. The narrative doesn't need much help, though, with screenwriter Nicolaas Zwart (Riverdale) hitting as many recognisable beats as the cops pursuing Allison fire off shots. She's wanted in general, but also because her last stick-up with her now-dead partner saw a little girl get killed. Eugene's stern stepfather George (Travis Fimmel, Lean on Pete) is one of the deputies on her trail, so the teen's decision to let her hole up in his family's barn is instantly risky. The young man is also desperate to flee himself, to find the dad that abandoned him and his mother (Kerry Condon, Better Call Saul) years earlier on their dustbowl property, so he doesn't need much convincing to assist Allison in this all-too-familiar affair. https://www.youtube.com/watch?v=1_xZGoYU1eg CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN Frontman for The Pogues since the early 80s, and a formidable music force in-between the Celtic punk band's stints together — until the 90s, and then from the early 00s to the mid 10s — Shane MacGowan is a rare beast in his chosen industry. He's a true individual that no one could ever emulate no matter how they tried. He's also a spikier, pricklier, far more recalcitrant figure than others who've earned that description (David Bowie and Prince, for example). He certainly has more stories to tell about smoking cigarettes and drinking booze as a child, then listening to his aunt teach him the gospels and sharing her religious fervour to such an extent that he even thought about turning his childhood beliefs into his life's work. Accordingly, to delve into MacGowan's existence beyond the easy-to-Google biographical details, the usual musician-worshipping documentary was never going to do him justice. So, seasoned director Julien Temple doesn't try to fit the usual mould. The filmmaker has ample experience in the genre, with Sex Pistols rockumentary The Filth and the Fury on his resume — plus Joe Strummer: The Future Is Unwritten and Glastonbury, too — and he's just adept at finding the right approach for the right subject. In Crock of Gold: A Few Rounds with Shane MacGowan, viewers hear the song that he's best known for more than once. The Pogues' 'Fairytale of New York' is an instrumental part of his story, after all. Although it was released in 1987, it's also the most popular Christmas song of the 21st century. Alongside the film's birth-to-now linear path, the use of well-known tune is the most standard part about this deep dive into MacGowan upbringing, fame and controversy. Case in point: MacGowan isn't an interviewee here in the traditional sense. Archival footage of him answering questions fits the expected mould, but in his more recent chats specifically for the doco, he talks with people he knows such as Johnny Depp, Primal Scream's Bobby Gillespie and former Sinn Féin president Gerry Adams. It's a canny and compelling approach, likely by necessity, and just how MacGowan changes depending on his company doesn't escape attention. In the process, and amidst animated sequences, family photos and videos, and deftly deployed stock imagery, Temple lets his audience see first-hand how a man with such a strong presence and infamous reputation is still a rolling, rambling bag of contradictions and complications — although MacGowan's words, offered over more than a few drinks as the lively film's title makes plain, easily paint that picture themselves. If you're wondering what else is currently screening in cinemas — or has been throughout the year — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3 and December 10. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky and The Furnace. Images: Superintelligence, Hopper Stone; Crock of Gold: A Few Rounds with Shane MacGowan, Andrew Caitlin.
As we take our seats for the Sydney Theatre Company's enticingly reversed Macbeth — where the audience sits on stage and the actors perform in the stalls and dress circle usually filled by the audience — the anticipation is through the roof. We buzz about being part of one of the year's bold theatrical experiments, even while squeezing ourselves into a seating bank sized for primary schoolers. And then the play starts. The air goes out of this Macbeth quite quickly, though it's sure to have its fans who can do with pure, minimal, academic Shakespeare. The first 45 minutes take place at what looks like the script reading table, with actors in everyday, 'civilian' attire. A few cleverly used props and costume elements configure them into different scenes: the witches gurgle into shape after Robert Menzies, Kate Box and Ivan Donato dunk their heads in water; with poncho to catch the spewing gore, a wounded captain (Melita Jurisic) brings news from the front and praise for Macbeth (Hugo Weaving) to King Duncan (John Gaden). This in itself is fine, but without characterisation through costume or speech, it makes for a very disengaging start, even for those familiar with the plot. Everyone's iambs gush out like waterfalls, and tonal variation is slight. The feeling throughout is that everything is rushed, with the only discernible reason being to get us out of this makeshift seating before we develop back issues. Speed does not guarantee pace. Of course, when Weaving speaks, it strikes awe. His voice is like a mountain rumbling to life to let the villagers know it is in fact a volcano and they should run for their lives. Shakespeare's words are clear and sonorous coming from him; however, it's hard to see more in this Macbeth and Lady Macbeth (Jurisic) than broad archetypes of people seduced and spoiled by power. It's strange because in the last piece of Shakespeare presented by director Kip Williams, Romeo and Juliet, character was the strongest suit. Why he would deny us the luxury of characterisation now is not clear, and if there is new meaning or a particular take to be found in this Macbeth, it's very hidden. When the action does move beyond the table, Williams and his team of design heavyweights (Alice Babidge on set, Nick Schlieper on lights and Max Lyandvert on sound) create a few memorable sights. A chase to the death over the staggered seats is thrilling, and the visitation by Banquo's ghost over dinner is beautiful and dripping with tension. There is the most spectacular glitter drop — like rain, snow and falling comets all rolled into one. It feels like Williams' ethos with this production is restraint, as though to avoid it being labelled a gimmick. I don't know that it's the right choice. Swapping the seating plan of a proscenium theatre is once-in-a-lifetime stuff, and it would have been excellent to see it realised to every inch of its creative possibility. Naturally, given the proposition and the casting, this show is sold out, with your only chance now being to ring up on Tuesday mornings in the hopes of getting the few Suncorp Twenties tickets. But it's a shame that a work set to reach such a broad audience is one with stilted imagination and limited appeal.
