Unfolding over 200 kilometres, the country's largest outdoor gallery will soon play host to the new Silo Art Hotel — a luxury, street art-themed pop-up getaway located in Sea Lake, near the northwest corner of the art trail's looped route. Announced today, Monday May 17, the Silo Art Hotel will give visitors an opportunity to spend the night just a short hop away from the trail's many spectacular visual offerings. Located beside the vivid pink waters of Lake Tyrrell, the hotel is crafted from three repurposed shipping containers, two of which have been transformed into luxe suites. The third has been reimagined as a heated open-air swimming pool, ideal for weary travellers after a long day spent exploring the region. It's all appearing for just one month, from June 11–July 12 this year. A joint effort from Visit Victoria and street art collective Juddy Roller, the Silo Art Hotel will offer some visual splendours of its own with the Matt Adnate Suite and Drapl & Zookeeper Suite each kitted out with never-before-seen artworks from their respective namesake artist. Adnate concepted and created the mural on the Sheep Hills silos in 2016, while Drapl & The Zookeeper are behind the collaboration that has graced the Sea Lake silos since 2019. A colourful mural by Rosebery silo artist Kaff-eine will adorn one side of the pop-up swimming pool. [caption id="attachment_812361" align="alignnone" width="1920"] The Sea Lake silos, featuring artwork by Drapl and The Zookeeper.[/caption] The Silo Art Hotel design is the work of Contained — the same crew behind The Wine Down pop-up winery hotels. The two self-contained hotel rooms boast high-end features including fancy Cultiver linen and robes, Australian-made toiletry products and a mini bar stocked with local goodies. Each room will also boast a private deck, ensuite bathroom and reverse cycle heating and cooling. The Silo Art Trail has been slowly and steadily expanding since its conception in 2016. It currently features 10 large-scale artworks, painted onto towering silos dotted across the state's Wimmera Mallee region. The Silo Art Hotel will pop up at Sea Lake from June 11–July 12. Rooms are $275 per night Sunday through to Thursday, and $375 per night from Friday to Saturday. Head to the website to book your stay.
When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. Swiftly an amateur historian, Philippa objects to the characterisation of the last Plantagenet sovereign as monstrous, a usurper and a murderer, and the connection between this dim standing in the annals of history and being a person with a purported disability. As she researches via piles of books, zoom chats and the Richard III Society, aka the Ricardians, she questions what's fact and fiction — not just due to Shakespeare, but also Tudor propaganda from five centuries earlier. Arguing the case, including with dismissive academics, is one thing; however, taking on the search to find the monarch's long-lost skeleton is another. It's a two birds, one stone situation in The Lost King's neat screenplay: restore the denigrated ruler's reputation and put his remnants to rest, and show Philippa's own naysayers — or even just herself — what she can achieve. Yes, she follows a hunch. Yes, there's an obligatory gag about it British cinema loves an everyperson taking on the establishment, and underdogs in general. The past two years have also delivered The Dig and The Duke, after all. The first chronicled another extraordinary find by someone not deemed an expert, and the second delighted in its working-class protagonist's antics with Goya's Portrait of the Duke of Wellington — and, in a case of tonal seesawing, The Lost King recalls both. There's clearly a fascinating IRL story behind this flick, which ripples with intrigue whether or not you already know the details (or you've merely seen the trailer, which spells everything out). There's also a tussle between positioning the film as a bit of a caper and something more serious. Having Philippa see Richard III (Harry Lloyd, Brave New World) — being haunted by the play's version of him and talking to him, in fact — wavers between the two moods depending on the scene. Buried within The Lost King is a sense that Frears, Coogan and Pope — who all collaborated on Philomena, too — aren't always sure how they want the movie to land with audiences. They're patently keen for it to inspire rousing support for everyone who's ever been downplayed, cast aside or ignored, including for their gender and health. They're eager for the same emotions to spark up for anyone ever saddled with a pre-judged narrative about themselves that isn't accurate, as both Richard III and Philippa are, as well. And yet, there's also an air of not quite trusting that the true tale being relayed innately evokes those responses. It does, so everything feels simplified and smoothed out here, given too many quirks and rendered a tad cartoonish. Also noticeable: using the contemptuous academics as easy adversaries, perhaps as conveniently as Shakespeare is said to have demonised Richard III. Getting angry at seeing Philippa pushed aside and underestimated again and again is easy, but so is spotting how The Lost King itself is constructing its story. Thankfully, Frears does trust in Hawkins, the feature's MVP alongside its real-life details (and an on-screen treasure in everything from Happy-Go-Lucky and Submarine to The Shape of Water and the Paddington movies). The two-time Oscar-nominee serves up a winning, earnest and relatable blend of vulnerability, warmth, curiosity and determination, plus the kind of persistence that arises when someone has spent too long being forced to fight just to be seen, let alone valued. Indeed, even when The Lost King is at its slickest and most straightforward — or when it inexplicably focuses on whether John will get a new car — she's its anchor and heart. With Philomena in 2013, The Lost King's key creative trio also unearthed the past. As they do now, they similarly told of addressing secrets and redressing wrongs. And, they centred on a mature woman, enlisted a phenomenal leading lady to play the part, gave Coogan a prime role and set it all to an emphatic Alexandre Desplat (Guillermo del Toro's Pinocchio) score. There's no doubting why their latest collaboration has a formulaic feel to it, then, despite the intriguing slice of history it brings to the screen. No one needs the type of intuition that guided Philippa to the Adult Social Services department's car park in Leicester, to a space marked 'R' for reserved, to spy those parallels. No one needs as much force and fantasy as The Lost King deploys, either, to understand that this is a rare and meaningful tale that's told with all the subtlety of the world's latest royal goodbye — so, very little. Richard III and Queen Elizabeth II's deaths mightn't have much in common but, via this still engaging-enough film, they do share that.
At the beginning of 2012, when the world discovered that Channing Tatum was starring in a movie about male strippers — and that it was based on his own experiences working in the field — everyone was a little sceptical. Which was understandable. Magic Mike boasts a great director in Steven Soderbergh, and a cast that also includes Matthew Bomer, Joe Manganiello, Olivia Munn, Riley Keough and peak McConnaissance-era Matthew McConaughey, but, on paper, it was hardly a sure thing. Of course, once the film hit the screens, it was a hit. More than that — it was a smart and sensitive look at men chasing the American Dream by taking off their clothes. Sequel Magic Mike XXL, which released in 2015, not only repeated the feat but added more depth, and Tatum successfully turned what could've been a forgettable chapter of his pre-fame life into a successful big-screen franchise. Actually, he's turned it into a stage and screen franchise. Yes, Magic Mike was always going to go back to where it all began. In Las Vegas and London (and soon Berlin), Magic Mike Live has been steaming up venues and letting real-life male dancers strip up a storm for eager audiences. Not to be confused with Magic Mike the Musical — because that's something that's also happening — the "immersive" dance show is coming to Australia in 2020. Hitting Birrarung Marr in Melbourne from Tuesday, May 26 — then heading to Sydney, Brisbane and Perth — Magic Mike Live will unleash its stuff in a 600-seat spiegeltent called The Arcadia. It's the world's largest spiegeltent, because clearly this kind of show has plenty of fans. This is the first time that the performance will be held in the pop-up two-storey spot, which comes with 360-degree views of the stage, a glass lobby, custom bars, a mini food hall, and a lounge area both inside and out. And while it's blazing a trail venue-wise, on the stage, the Aussie show will combine elements of the Magic Mike Live's three other international productions. While Tatum came up with the idea for Magic Mike Live and co-directs the show, the Step Up, 21 Jump Street, Logan Lucky and Kingsman: The Golden Circle star isn't actually one of the performers. Instead, a cast of 20 — including 15 male dancers — will showcase a combination of, dance, comedy and acrobatics. Continuing her role from the films, stage show co-director and choreographer Alison Faulk is behind the sultry moves, drawing upon a career spent working with Janet Jackson, Britney Spears, Miley Cyrus, Missy Elliott, P!NK, Madonna, Jennifer Lopez and Ricky Martin. It probably goes without saying, but if you're already thinking about buying Magic Mike Live tickets, expect to have plenty of hens parties for company. [caption id="attachment_753643" align="alignnone" width="1920"] Jerry Metellus[/caption] MAGIC MIKE LIVE AUSTRALIAN TOUR Melbourne — Birrarung Mar, from Tuesday, May 26, 2020 Sydney — Entertainment Quarter, Moore Park, from Thursday, November 19, 2020 Brisbane — TBC Perth — TBC Magic Mike Live tours Australia from Tuesday, May 26, 2020, when it kicks off its shows in Melbourne. For more information — or to buy tickets for the Melbourne and Sydney legs, or sign up for the Brisbane and Perth waitlists — visit the website.
Journey into an underground bitter theatre at the MUCHO Group's negroni-fronted Bar Herbs, which showcases classic cocktails with a tightly curated menu of negronis, aperitifs and digestifs. Expect the same creative flair as seen in bustling sister venues, like Cantina OK!, Centro 86, Bar Planet and Tio's Cerveceria, with a myriad of drink and design influences blended together to create a dynamic space that borders on the psychedelic. Centred on a small selection of core drinks that impress and surprise in equal measure, Herbs' menu spans a few riffs on the classic negroni, a small selection of house-blended digestifs, and a handful of original cocktails. The eponymous Herbs Negroni nods to tradition, with gin, Campari and an inventive mix of two red vermouths — one rich and one bright. The Gold Negroni dazzles with gin, Cocchi, Gentian, and Chinola. As for the digestifs, highlights may include the likes of the Fuji, which blends Montenegro with meshu, or try a Seagreen cocktail with vodka, sake, rocket, lime and sugarcane. "We're honoured to open our sixth beautiful venue," says Daisy Tulley, MUCHO Group's General Manager. "Herbs is another nugget of joy for Sydney — a warm, cosy, artistic space with delicious, surprising cocktails and an inclusive and empathic team who are ready to make memories. And the popcorn recipe is our best yet." While the influences behind Herbs come from far and wide, the bar's philosophy also looks inward to Sydney's culinary pantry. Merging European drinking traditions with down-to-earth ingredients, the 45 amaros collected from Italy to Japan are complemented with fixings picked from Polish delis and Chinese grocers, capturing the city's multicultural makeup. "We're trying to connect flavours that sing together, without being boxed into the expectations of their origin. Delicious cocktails that step just far enough outside of frame to feel distinctively MUCHO," adds Jeremy Blackmore, Creative Director at MUCHO Group. Herbs' design also doesn't miss a beat, ramping up the ethos further with an eclectic fusion of 1900s theatre, mid-century diners, German shoe shops and Flemish Renaissance paintings. Surreal but somehow cohesive, the venue immerses visitors through a wrap-around mirror, red velvet furnishings and vintage wood-panelled decor. Meanwhile, the soundtrack proudly leans into early 2000s New York indie nostalgia. Primed for a big night out, kick back with a ruby-red concoction, MUCHO's iconic complimentary popcorn, and the irreverent tones of LCD Soundsystem or The Strokes beneath the disco ball. Images: Nikki To.
It's easy to hide away from the weather, but another lazy weekend spent at home is bound to get boring before long. With this in mind, it's a good thing Tanuki —Double Bay's chic Japanese-inspired izakaya and bar — is ramping up the cosiness factor with the launch of its new Lounge Lunch every weekend. Developed by the same crew behind nearby neighbour Matteo Sydney, this fresh event is designed as a sultry, slow-burning take on a bottomless long lunch. Guided by Head Chef Ken Wee Lee (Sushi e, Toko), expect bold, cheeky twists on Japanese flavours, like salmon tataki, spicy tuna crispy rice, grilled miso chicken set and matcha tiramisu. Paired with two hours of free-flowing cocktails and wine, Tanuki's alluring lounge and upbeat courtyard are the ideal settings to sip Bandini prosecco and Rameau d'Or rosé alongside a curated selection of vino and tap beers. Plus, if you're really keen to enliven your weekend, you're welcome to upgrade to bottomless margaritas for $20 per person. Served every Saturday and Sunday for groups of four or more, this share-style banquet and beverage package is available for $100 per person. Perfect for when you've been cooped up inside a little too long, trust this inventive Japanese feast to carry the good vibes until the late afternoon and beyond.
*This event is not officially associated with Laneway Festival, and the competition prize does not include tickets to Laneway Festival. Ages 18-plus only. Drink responsibly. Summer is nearly here, which means one thing: festival season. On Sunday, February 8, artists including Chappell Roan, PinkPantheress, Malcolm Todd, Role Model, Wet Leg and more of your 2025 Spotify Wrapped favourites will be heading to Sydney's Centennial Park for Laneway Festival. Before you dive headfirst into the mosh, we're giving you the chance to warm up in style. We've teamed up with the weird and wonderful wine brand Old Fat Unicorn to throw the ultimate exclusive pre-party brunch*. And you're invited. You and three mates could be in with a chance to win a festival pre-party at Since I Left You, located in Kent Street's YCK Laneway. Your free tickets include a delicious brunch in the courtyard (you've got to get your energy up, after all), a glitter station to complete your festival outfit, DJs spinning tunes and a drag queen host to bring the energy. Of course, there'll also be complimentary drinks thanks to Old Fat Unicorn. You'll be able to sip (responsibly) on the delicious Citrus Sorbet spritz, try the crisp prosecco, enjoy the light-bodied pinot gris, as well as Old Fat Unicorn's peachy moscato. How to Enter To be in with a chance to win, all you have to do is tell us in 25 words or less why you and your friends deserve to attend this brunch party. There are only 100 tickets to give away, so make sure you and your friends get in quick. Drinks on Us: We're Giving Away 100 Tickets to an Exclusive Pre-Festival Party in a Laneway Lead image: Getty Images
If it wasn't for the hordes of people crowding into this unassuming place, Coffee Alchemy would certainly go unnoticed along Marrickville's industrial concrete stretch. We all know looks can be deceiving so what this place lacks in aesthetic appeal it makes up for with killer produce – coffee. Coffee Alchemy is serious doing things right. Yes, we're talking about their beans. Good beans. For these guys, "coffee is the elixir of life." They are meticulous about freshness, preparation and having the most superior coffee. In short, your coffee will no doubt come with a shot of devotion and taste pretty darn fine. Owner Hazel de los Reyes was recently awarded NSW Barista Champion for 2012, but this is only an addition to the list of other accolades both she and the cafe have received, including SMH "Best Coffee" for 2011 and 2012. Evidently, Hazel is mad about coffee and not half bad at making liquid gold out of it. The house blend, Goodness Galileo, is the standard bearer for cappuccinos and lattes ($3.50 or $12.50 for 250g bag). With rich notes of chocolate and nuts, it leaves a satisfying taste on the palette long after the last sip. Coffee Alchemy's Sibila's Brew — fruity with a bit of spice and clean finish — is another popular coffee and best prepared in plungers, espresso machines or sophisticated equipment such as a vacuum brewer ($12.50 for 250g bag). For those coffee nerds who are bearers of such sophisticated equipment, the usual suspects such as filter, pour over and syphon are available. A Bolivian mamani mamani is the pour over special of the week ($5) and has a lively orange acidity to it, with hints of toffee and caramel even coming through. If you're in the mood for something experimental, the sparkler ($6) is the way to go. Served in a tall beer glass, at first glance it might look like you're getting a dark lager instead of a caffeine fix. However, the chilled coffee is an appropriate refreshment for those balmy days. And on Saturdays, Coffee Alchemy extends the fort with a takeaway counter in the garage next door. There's something truly remarkable about Coffee Alchemy and you'd be a fool to miss out if you're a fan of the bean
In self-portrait after self-portrait, Frida Kahlo was no stranger to giving the world a window into what made the artist tick. The Mexican painter didn't just create art — she bared her soul, especially in pieces where she stares back at audiences. Frida Kahlo: In Her Own Image has a similar intimate aim in mind, as aided by some of the icon's depictions of herself, as well as a treasure trove of her personal belongings. When it arrives Down Under in 2025, this will be Australia's latest celebration of Kahlo after the Art Gallery of South Australia's 150-work Frida & Diego: Love & Revolution showcase of Mexican modernism in 2023, and also Sydney Festival's multi-sensory Frida Kahlo: Life of an Icon the same year. That's quite the spread of places around the country that've been dedicating walls and halls to the artist, with Bendigo now joining them. Frida Kahlo: In Her Own Image will display at the Bendigo Art Gallery from Saturday, March 15–Sunday, July 13. [caption id="attachment_966475" align="alignnone" width="1920"] Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © Nickolas Muray Photo Archives.[/caption] Many of the artworks and items that'll feature have never been seen in Australia before. In fact, some were sealed for 50 years in her family home when Diego Rivera ensured that the site would become a museum after Kahlo passed away in 1954, and that her most-personal items were stored in the bathrooms away from public eyes. Objects such as clothes and makeup will make the trip to regional Victoria, as will mementoes and photographs. Accordingly, attendees will be peering at traditional Mexican garments, including a headdress from the Oaxaca region, that were worn by Kahlo; Revlon cosmetics, such as lipstick, nail polish and an eyebrow pencil; and hand-painted medical corsets that she donned following spinal surgeries. Appearances Can Be Deceiving, a self-portrait drawing that provides a view through her clothing to her corset x-ray style, is also a highlight. [caption id="attachment_966474" align="alignnone" width="1920"] La Casa Azul. Photograph by Sebastián Monsalve. © Frida Kahlo & Diego Rivera Archives. Bank of Mexico, Fiduciary in the Diego Rivera and Frida Kahlo Museum Trust.[/caption] Arriving direct from the Museo Frida Kahlo in Mexico, Frida Kahlo: In Her Own Image is exclusive to the Bendigo institution, so you'll need to make the trip if you're keen to explore what the artist's belongings and style says about her art. "This remarkable collection rarely travels outside Mexico, and has never before been seen in Australia. Kahlo's much-loved home, Casa Azul, now the Museo Frida Kahlo, was the embodiment of her art, philosophies and design influences," explains Jessica Bridgfoot, Director of Bendigo Art Gallery. "Frida Kahlo: In Her Own Image will shed a light on Kahlo's carefully crafted appearance in the world, and how her vibrant clothing, poetic use of makeup and adornment constructed her captivating public image, and also addressed global political issues, cultural identity and how her physical disabilities both defied and defined her." [caption id="attachment_966476" align="alignnone" width="1920"] Cotton blouse embroidered with glass beads; satin skirt with chain stitch and floral motif embroidery; holán (ruffle) and guatemalan waist-sash. Photo: © Museo Frida Kahlo - Casa Azul Collection - Javier Hinojosa, 2017.[/caption] "Frida Kahlo: In her own image originates from the extensive investigation of Frida Kahlo's personal objects, found in trunks, wardrobes, drawers, bathrooms and cellars of the Casa Azul," adds Perla Labarthe Alvarez, Museo Frida Kahlo's Director. "The exhibition is a unique opportunity to learn about the Kahlo's life in a classical Mexican house which encompassed not only her personal world but so much of Mexican life and culture. These endearing objects help us understand the story of this complex artist with all her humanity, resilience and creative power." [caption id="attachment_966477" align="alignnone" width="1920"] Frida Kahlo, by Guillermo Kahlo, 1932 © Frida Kahlo Museum[/caption] [caption id="attachment_966478" align="alignnone" width="1920"] Revlon compact and powderpuff with blusher in 'Clear Red'; Seal-fast nail varnish top coat; Lastron nail varnishes in 'Frosted Snow Pink' and 'Frosted Pink Lightening'; lipstick in 'Everything's Rosy'. Before 1954. Photo: © Museo Frida Kahlo - Casa Azul Collection - Javier Hinojosa, 2017.[/caption] Frida Kahlo: In Her Own Image will display at Bendigo Art Gallery, 42 View Street, Bendigo from Saturday, March 15–Sunday, July 13, 2025. Head to the gallery's website for further details. Top image: Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © NickolasMuray Photo Archives.
Jimmy Chin is no stranger to peering at the world from angles that most folks don't see. He's also familiar with hitting peaks. As a mountain athlete, scaling great heights has been his job; however, the above descriptions also apply to his work as a filmmaker. With his partner Elizabeth Chai Vasarhelyi, he won the Best Documentary Feature Oscar for Free Solo. Before that, the pair took home an audience award at Sundance for the also climbing-focused Meru. The Rescue, their doco about the efforts to free 12 Thai schoolboys and their soccer coach from the Tham Luang Nang Non cave system, earned them more acclaim — and both Annette Bening (Apples Never Fall) and Jodie Foster (True Detective: Night Country) scored Academy Award noms for starring in the duo's feature debut Nyad. Get Chin talking, then, and he'll clearly have much to discuss — about his work as a director and a mountaineer alike. On his first appearance in Australia, he'll be doing just that at Sydney Film Festival and Vivid Sydney. The two events are co-hosting Beyond the Summit with Jimmy Chin, where the Oscar-winner, National Geographic photographer and author will be behind the microphone for one night only. [caption id="attachment_706085" align="alignnone" width="1920"] National Geographic/Jimmy Chin[/caption] How does someone who clambers up mountains then become a celebrated documentarian? How did skills in the former help with the latter — not just when climbing is the focus on-screen, as was clearly the case with Meru, and also with Free Solo's chronicle of Alex Honnold's El Capitan ascent sans ropes, but in general? Why do extraordinary feats, including Diana Nyad's 110-mile ocean swim, appeal to Chin as a filmmaker? They're just some of the threads that this in-conversation session, which is taking place on Friday, June 13, 2025 at Sydney Town Hall, might cover. Chin will dig into shooting in extreme conditions, too, alongside how being a professional adventurer influences the way he sees the natural world on film. [caption id="attachment_833518" align="alignnone" width="1920"] National Geographic[/caption] "I'm excited to be a part of Vivid Sydney and the Sydney Film Festival this year. It's a great way to celebrate storytelling and creative risk-taking, which have both shaped my life in the mountains and behind the camera. To share my experiences in one of the world's most iconic cities is an incredible opportunity," said Chin about his upcoming trip Down Under. "Vivid Sydney's collaboration with Sydney Film Festival this year helps bolster the calibre of both festivals and this event is testament to that. Jimmy Chin is a captivating creative with an equally impressive resume, and this conversation promises to be one to remember," added Vivid Sydney Festival Director Gill Minervini. "Jimmy Chin's work sits at the intersection of art, athleticism and ambition. His films are as exhilarating as they are emotionally resonant, and we're honoured to welcome him to Sydney for this one-of-a-kind conversation," noted SFF Festival Director Nashen Moodley. [caption id="attachment_945212" align="alignnone" width="1920"] Kimberley French/Netflix ©2023[/caption] Sydney Film Festival and Vivid Sydney have a number of collaborations on their 2025 slates, including a screening of Justin Kurzel (The Narrow Road to the Deep North)-directed documentary Ellis Park, about iconic musician Warren Ellis establishing an animal sanctuary to protect endangered species in Sumatra, plus An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. Then there's Planet City: Live. Courtesy of designer and director Liam Young, the speculative fiction experience takes attendees to a different future — one where humanity has responded to the environmental destruction of the planet in a decisive fashion. Young's film is set at a time where there's just one city, which is where everyone on earth resides, with the rest of the globe left to rewild. At SFF, Young will provide live narration for the film, while Forest Swords will play its score live as Planet City screens. All of the above are just a taste of Sydney Film Festival's program, which has unveiled a few other sneak peeks so far — a batch of other initial titles, a Jafar Panahi retrospective and Together as the opening-night flick, for starters — in advance of the full lineup releasing on Wednesday, May 7. Check out the trailers for Meru, Free Solo, The Rescue and Nyad below: Beyond the Summit with Jimmy Chin takes place on Friday, June 13, 2025 at Sydney Town Hall — head to the Sydney Film Festival website for tickets. Sydney Film Festival 2025 runs from Wednesday, June 4–Sunday, June 15 at cinemas across Sydney. Hit up the festival website for further information and tickets — and check back in with Concrete Playground on Wednesday, May 7 for the full lineup. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Ever had a cocktail so good it deserved a permanent place on your skin? Now is your chance to get inked, as Bar Planet celebrates three years of slinging martinis with a one-off tattoo pop-up on Saturday, May 17. Whether you're already decorated from head to toe or a first-timer, it all kicks off at 2pm on a first-come, first-served basis. Headed up by the supremely talented Sydney-based tattoo artist Onnie O'Leary, guests can choose from a flash sheet of original Bar Planet designs inspired by the venue's iconic drinks and details. Starting from $100, the lasting memory might just be priceless. These creations are instantly recognisable to Bar Planet fans, with options including David Humphries' kaleidoscopic terrazzo bar top, bags of MSG-laced popcorn, wax-drenched candles, and the off-menu Skyscraper martini topped with a string of seven Kalamata olives. "Over the years, we've received lots of martini tattoos in our Instagram DMs," says Daisy Tulley, Group General Manager at MUCHO. "We can't believe Bar Planet has made its way onto our guests' skin! It's such a privilege and a joy to see." Images: Nikki To / Dexter Kim.
Prove your adventure credentials on the first date by booking a picnic hanging from a cliff. We're not suggesting an awkward meal perched on a rocky ledge, but rather one of the fancy cliffnics organised by Shoalhaven-based business Outdoor Raw. You and your date will be suspended on a bench hanging off the side of a cliff, legs dangling, while baskets of locally sourced cheeses, charcuterie, fresh fruits, bread, preserves, wine and beer are lowered to you for feasting. This dramatic cliffside affair pops up at numerous locations with spectacular beach and mountain views and requires little physical exertion to walk to the sites and clamber onto the platform — just a whole lot of gusto to actually relax while suspended high above ground level.
Sydneysiders have been collectively falling in love with Japan for years. In fact, you'd be hard-pressed to find a mate who hasn't at least contemplated traveling to the land of izakayas, onsens, and shinkansens. Luckily, we're seeing a steady stream of Japanese retailers bringing a taste of Toyko to Oz. For those looking to freshen up their look, Triple Major Store is the perfect place to start. Inside a cute orange townhouse on Kensington Street, this shop is home to an extensive range of designer streetwear for men and women, making it a must-visit for anyone looking to bring a touch of Japanese cool to their wardrobe.
It was trialled in The Rocks and Broken Hill, then rolled out to the Sydney CBD, northern beaches and Bega Valley — and now the New South Wales Government's Dine & Discover program is becoming available statewide. The scheme provides $25 food and entertainment vouchers, and had been earmarked to expand across the state in March. Today, Friday, March 19, Premier Gladys Berejiklian confirmed that it was proceeding as planned. Different local government areas will gain access to the program each week, starting with 67 LGAs around the state right now. The list of areas currently able to nab vouchers includes Campbelltown, Sydney, Hornsby, Ryde and northern beaches in Greater Sydney, plus everywhere from Byron and Lake Macquarie to Narrabri and Snowy Monaro — with the rest of the state due to be added in the coming weeks. Everywhere across NSW will have access by the end of March. To take advantage of Dine & Discover, you'll need to be a NSW resident over the age of 18 — with everyone who falls into that category becoming eligible to receive $100 in vouchers when the program hits their area. You'll then score four $25 vouchers, with two available to use at restaurants, cafes, clubs and other food venues from Monday to Thursday, and the other two specifically for cultural institutions, performing arts, cinemas and amusement parks seven days a week. The vouchers can be used at a hefty list of spots — including Dendy Newtown, the Enmore Theatre, Sydney Opera House and the Australian Maritime Museum. Also on the list: Earl's Juke Joint and The Bank in Newtown, Love, Tilly Devine and Lankan Filling Station in Darlinghurst, Ria Pizza and Wine in Potts Point, Since I Left You in the CBD and Lilymu in Parramatta. [caption id="attachment_789626" align="aligncenter" width="1920"] Since I Left You[/caption] There are a few caveats, understandably. The big one: you have to use the vouchers by June 30, 2021. If you were thinking of redeeming the vouchers over Easter, though, you'll need to revise your plans — as you can't redeem them on public holidays. You also can't use them on tobacco, alcohol or gambling. And, you can only use each voucher once, including if your transaction totals less than $25. You'll need to use your vouchers separately, actually, because the idea is to get NSW folks heading out several times to several different places. To access the vouchers, you'll need a MyServiceNSW account — and the corresponding Service NSW app, so you can use the vouchers digitally. You can only redeem them at participating and COVID-safe registered businesses, however, which are listed online. Businesses can still register to participate. Hospitality company Sydney Collective has already announced that it'll double the value of the vouchers at eight of its NSW venues — so it'll give you an extra $25 on top of each $25 voucher. The Dine & Discover program was announced as part of the NSW Government's State Budget 2020–21 in a bid to help NSW's hospitality and entertainment businesses, which had a rough run during COVID-19. Originally called Out and About, the program is designed to encourage folks to head out of the house, have a meal, and see a movie or show. And, to do so on multiple occasions. The NSW Government's Dine & Discover scheme is now being rolled statewide. For more information — including which Local Government Areas now have access to the program, and which businesses are participating — visit the government's website. Top image: Kitti Gould
Fossix Coffee has been serving up artisanal eats and specialty coffee on Pitt Street since its opening in 2016. Run by owner Jeremy Glass and chef Sean Kiely, the cafe boasts house-made pastries, cakes and other sweet treats that are a far cry from your run-of-mill CBD cafeteria eats. Open from 7.30am every weekday, the foyer cafe is serving up espressos and iced coffees made on a rotating selection of coffee, including single-origin blends by Sample Coffee. Hungry visitors can check out the takeaway brekkie and lunch menu — think smoked salmon bagels, croissants and barbecue pulled pork wraps — or choose from a selection of vego and gluten-free options. Those with a sweet-tooth can tuck into the changing menu of cakes, with local favourites including the Golden Gaytime cheesecake, 'Mum's carrot cake' and a decadent red velvet cake. And if you head down on a Friday afternoon you can grab any remaining slices for just $5 a pop. With a cool, greenery-filled interior hidden from street view, Fossix offers an escape from the hubbub of the CBD. Plus, you can consider your next office soirée sorted with the extensive catering menu, offering everything from mini-bagels and canapés to a three-litre urn of batch brew filter.
At street level, it's just another office foyer. But gaze skyward, and you'll see some stunning architecture. The podium and tower, joined by an upside down pinhead, were constructed thirty years apart. The brutalist building is split into two sections: the Sydney Masonic Centre held within the lower half and the 35-floor Civic Tower above. Inside the clandestine Masonic Centre, you'll find the Museum of Freemasonry. Within the museum, you'll learn about the enigmatic history and heritage of the Freemasons. Plus, from Monday to Friday, you can tour the museum at 11am and 2pm and peek some areas not accessible otherwise.
Already boasting Yellowface author Rebecca F Kuang and Roman Empire scholar Mary Beard on its program, and tapping into two huge facets of 2023 in the process — one of the most-talked-about books of the year and one of TikTok's biggest memes — the 2024 All About Women festival has dropped its characteristically packed full lineup. Now in its 12th year, the Sydney Opera House event will span 24 sessions with 40-plus artists, and will again make its chats and panels available both in-person and online. All About Women explores gender, justice and equality, doing so as a concise one-day event on Sunday, March 10 after expanding to two days in 2022 and to three in 2023. Kuang heads to Sydney to chat about her satirical novel, which dives into cancel culture, cultural appropriation and diversity in the world of publishing — and Beard is coming to the Harbour City fresh off the release of her latest book The Emperor of Rome to explore misogyny, power, murder and gossip. From there, held as the week of International Women's Day wraps up, All About Women will see Grace Tame join a discussion about who controls women's bodies, which will also feature Indigenous social activist Tanya Hosch, tattoo artist Madison Griffiths and documentarian Tara Rae Moss. Miles Franklin-winning author Anna Funder will unpack the patriarchy, Glossy: Ambition, Beauty, and the Inside Story of Emily Weiss's Glossier's Marisa Meltzer will step through the beauty industry's changes, and Consent Laid Bare's Chanel Contos has porn and consent on the agenda. A Lonely Girl is a Dangerous Thing scribe Jessie Tu is part of a panel about "sad girl" novels, The Wren, The Wren's Anne Enright will talk about her latest book, and stylist Aja Barber will examine fast fashion. Or, there's Barkaa and Steph Tisdell unfurling who gets to be an anti-hero in pop culture, plus Osher Günsberg in a discussion about parenting gender roles. [caption id="attachment_936209" align="alignnone" width="1920"] Luke Currie-Richardson[/caption] Plus, life behind bars, influencer culture, storytelling as a way of creating social change, mothering on the margins and the role of gossip all feature in their own sessions. Among the workshops for folks attending physically: mindful journalling, candle-making, femininity through dance and supporting someone dealing with gender-based violence. Sydney Opera House Talks & Ideas's Chip Rolley has put together the 2024 program alongside Clementine Ford, Nakkiah Lui and Bri Lee, each of whom have co-curated specific sessions. [caption id="attachment_929572" align="alignnone" width="1920"] John Packman[/caption] All About Women 2024 takes place on Sunday, March 10 at the Sydney Opera House, and also stream online. Tickets for the full program go on sale at 9am on Thursday, January 18 with pre sales from 8am on Wednesday, January 17 — head to the event website for more details. All About Women images: Jaimi Joy / Cassandra Hannagan.
If you never got to live your Euro summer — or if you did make the trip and need to relive your adventures — there's a little slice of Southern Italy right here in Sydney. Enter Divino Osteria, an Elizabeth Bay eatery that transports the flavour and hospitality of southern Italy to the eastern suburbs. To get the lowdown on the family operation, its menu, and why you should pencil in a reservation ASAP, we spoke to chef Andrea Di Stefano and owner Anthony Alafaci. The address of Divino Osteria might call up some memories for veterans of Sydney nightlife, since 19-23 Elizabeth Bay Road was formerly home to The Sebel, a famous celebrity haunt that went back to 1963. Today, Divino Osteria and Alafaci have swapped A-list party secrecy for Italian hospitality. [caption id="attachment_1005500" align="aligncenter" width="1920"] Guy Davies[/caption] What Was the Vision for the Space When it Opened? "The vision for Divino Osteria was to establish a space that celebrates Italy's vibrant culinary heritage, offering a cozy yet refined casual dining experience that captivates the senses and fosters a sense of community among guests. The name 'Divino' in Italian means 'divine' or 'heavenly,' often used to describe something extraordinary, or of exceptional quality. It reflects the idea that the dining experience at our restaurant is not just about food but something sublime and memorable. 'Osteria' refers to a traditional Italian restaurant, typically more casual and focused on offering local, home-style dishes. Osterias were gathering places for friends and family to enjoy simple, hearty meals together, with an emphasis on community and warmth. Together, 'Divino Osteria' embodies the essence of what we offer — a heavenly, welcoming place where you can savour the rich, authentic flavours of Italy, rooted in tradition but presented with modern flair." Which Particular Niche Does Divino Osteria Fill in the Local Dining Scene? "We're a casual Italian eatery focused on local, home-style dishes, reflecting our commitment to genuine hospitality and creating a dining experience reminiscent of sharing a meal at a friend's home. We seek to bring people together with good food and wine. We distinguish ourselves in Sydney's dining landscape, appealing to those seeking a genuine and heartfelt Italian dining experience." Divino's head chef, Andrea Di Stefano, is Sicilian by birth and brings his own range of skills and love for the simple authenticity of Italian cooking, having crafted a menu that celebrates fresh, seasonal ingredients and authentic methods, including handmade pasta, stone-baked pizza from the venue's hand-built brick oven, slow-cooked sauces, and locally sourced produce. [caption id="attachment_1005497" align="aligncenter" width="1920"] Guy Davies[/caption] What Kitchen Experience Did You Have Before Joining the Divino Team? "I started cooking at 12 years old in our family bakery and pizzeria in Italy, one of three boys all in the food industry. I later trained up in a hotel kitchen in Catania, Sicily, where I cultivated a palate for the different yet specific flavours of Italian cuisine. This was refined at home in collaboration with my mother and grandmother, cooking familiar home-style dishes. I later had the opportunity to hone my skills in fine dining kitchens across Italy and London, learning from Michelin-starred chefs. Now, in Australia, I've combined those experiences to craft the menu at Divino Osteria." Of All the Dishes on the Menu, Which Is Your Favourite to Prepare? "The costoletta d'Agnello is my favourite dish to prepare on our current menu. Lamb chops are a cherished component of Italian cuisine for their tenderness and rich flavour. They offer the versatility to be prepared in various ways that highlight their natural flavour while adding your own refined touch, whether through technique, seasoning or presentation, allowing for creative culinary expressions." [caption id="attachment_1002655" align="aligncenter" width="1920"] Guy Davies[/caption] Can You Take us Through Divino's Drinks and Wine Offering? "Divino's wine list is a carefully curated journey through Italy's most celebrated wine regions. From Tuscany to Sicily, each bottle featured reflects the traditions and terroir of its origin. There are Italian classics like barolo, nerello mescalese, nero d'avola and amarone. We also have an array of Australian and New Zealand wines from the Barossa, McLaren Vale, Margaret River and Marlborough. Each bottle has been selected to complement and pair perfectly with the food and elevate the dining experience. We also have some specialty cocktails, some classics and bold Italian signatures too. Our cocktail list is a celebration of fresh citrus, fragrant herbs, and vibrant liqueurs. Whether you're in the mood for something bitter, sweet, sparkling, or spicy, there's a glass here with your name on it." What's Your Favourite Drink on the Menu? "One of the standout elements of our bar program is our curated Limoncello, which is made to reflect the flavours we love most from the south. It's a small touch, but it makes a huge difference in flavour. [caption id="attachment_1002652" align="aligncenter" width="1920"] Guy Davies[/caption] If Someone Is Making Their First Booking at Divino, What Would You Recommend They Order? Di Stefano: "The medaglioni is a personal favourite on our specials menu. Using a wagyu sirloin MBS9+ with brown butter and sage, we craft oversized ravioli and present it on a plate. It pairs really well with a due lune nero d'avola/Nerello Mascalese grape, which really enhances the flavour of the food." And for drinks? "You can't go past an Aperol Spritz or a Limoncello Spritz. Both are light, refreshing and perfect for daytime drinking — bitter, citrusy and just the right amount of effervescence. If you're after something a little stronger, a Tommy's Margarita is a great option, too — clean, fresh, and packed with flavour without being too heavy." To make a long lunch booking at Divino Osteria, or to find more information, visit the website.
When the annual World's 50 Best Restaurants announced its picks in 2023, Australia was completely absent, missing out on spots in both the top 50 itself and the 51–100 longlist. Which eateries have made the cut in 2024 is only just starting to be unveiled, beginning with the tail end of the choices — and trust Josh and Julie Niland to help get Aussie hospitality back among the rankings. Saint Peter has taken out 98th place on the 2024 51–100 longlist, and it's the only Australian restaurant named so far. The top 50 itself will be unveiled on Wednesday, June 5, so there's still hope that some more love will be sent Down Under. The last time that there was an Aussie showing in the full 100 was in 2022, when Andrew McConnell's Melbourne diner Gimlet at Cavendish House came in at 84 for its World's 50 Best debut. [caption id="attachment_952313" align="alignnone" width="1920"] Christopher Pearce[/caption] Named ahead of its move in July into The Grand National Hotel, Saint Peter is similarly a new entry, earning praise for the Nilands' famed nose-to-tail approach to the ocean's finest. That ethos has already seen Josh's applauded The Whole Fish Cookbook win him the prestigious James Beard Book of the Year Award back in 2020, becoming the first Australian to ever take out the prize. In 2022, he was the only Australian chef to feature in The Best Chefs Awards for 2022 — aka the list of the top 100 best globally — too. The same year, both Josh and Julie picked up the Game Changer Award from France's La Liste. "Not every restaurant can legitimately claim to be spearheading a movement. Yet this cool concept from Josh Niland takes the great Australian seafood tradition to previously unexplored heights," said the team behind 2024's World's 50 Best Restaurants 51–100 list in this year's rankings. "Known as 'the fish butcher', Niland favours techniques typically associated with meat. With a gill-to-fin approach, he utilises as much of the fish as possible, from eyes to organs, bones to scales – and everything in between. The innovative menu changes daily to reflect that morning's catch," the shoutout went on. [caption id="attachment_952314" align="alignnone" width="1920"] Christopher Pearce[/caption] Australia's hospitality scene hasn't ever dominated the World's 50 Best Restaurants gongs, but not placing at all for 2023 didn't escape attention. Just two Aussie restaurants claimed spots in 2021's awards, both of them Victorian, with Dan Hunter's Brae placing 57th and Ben Shewry's Ripponlea fine diner Attica coming in at number 97. There were no awards in 2020, but Brae and Attica also placed in the longlist in 2019. In 2018, Attica came in 20th and Brae 58th. Australia has had up to four restaurants in the top 50 before, including three when the awards debuted in 2002. The World's 50 Best awards are chosen by a panel of over 1000 culinary experts, guided by a strict voting procedure. They're now hosted by a different country each year, with Melbourne playing host city back in 2017. In 2023, Central in Lima, Peru acme in first. The year's other picks included Disfrutar in Barcelona in second, Diverxo in Madrid in third, Atxondo's Asador Etxebarri in fourth and Copenhagen's Alchemist in fifth. Next came Maido in Lima, Lido 84 in the Gardone Riviera, Atomix in New York, Quintonil in Mexico City and Table by Bruno Verjus in Paris to round out the top ten. Wondering about the best places to eat Down Under, regardless of what the World's 50 Best Restaurants chooses? Check out our picks for the best Sydney and best Melbourne restaurants. [caption id="attachment_811440" align="alignnone" width="1920"] Nikki To[/caption] To check out the World's 50 Best Restaurants 51–100 list, head to the awards' website. The top 50 will be announced on Wednesday, June 5 — and we'll update you then. Top image: Christopher Pearce.
The masters of contemporary Italian fare behind Ormeggio at The Spit are at it again, choosing Sydney's northern beaches for their new 49-seat venture, Sotto Sopra. After launching on February 9, the Newport trattoria sees acclaimed Ormeggio partners, Alessandro Pavoni, Victor Moya, and Bill Drakopoulos, joined by Roman-born chef Mattia Rossi, who's fresh from a stint heading up the kitchen at Chiosco. While the team has hinted at a more relaxed vibe this time around, fans of Ormeggio will know to expect a healthy dose of creative flair and a few well-executed surprises, regardless. Sotto Sopro is Italian for 'upside-down', and proves a fitting name given the menu, which sees traditional Italian flavours enjoy some clever, rather unexpected treatments. Taking pride of place in the kitchen is an imported woodfire oven, where dishes like cacciucco pie and slow-cooked, Roman-style porchetta will channel the cooking that Pavoni grew up with back in Italy, albeit crafted on top Aussie produce. Both a 16-seat, custom-made, communal feasting table and two share menu options ($69 & $79 per person) are bound to get a solid workout, heralding many a long, lazy lunch to come. Think mouth-watering stuzzichini, broccoli and honey bug orecchiette, and house-made tiramisu, alongside an affordable line-up of Italian wine varietals. Find Sotto Sopra at The Palms G04/316-324 Barrenjoey Road, Newport. For more information, visit their website and Facebook page.
Stay tuned. More info on its way. Image: Destination NSW.
While he's never been a traditional leading man, actor Crispin Glover is one of Hollywood's most recognisable faces. With a host of famous roles behind him, including the Thin Man in Charlie's Angels: Full Throttle and George McFly in Back to the Future, he's earned himself quite the cult following. On Friday July 20 and Sunday July 21, Glover will join with Chauvel cinema for a two-part performance of his Big Slide Show — one-hour narrations of eight copiously illustrated books, the images from which will be projected behind him during these dramatic readings. They'll be followed by screenings of films he's produced. Whether you're a fan of this grossly underappreciated treasure or a lover of all things wacky, this is not to be missed.
Channelling the cultural and creative breadth of Japan's 47 prefectures, this six-venue hub, contains four restaurants, a patisserie and a whiskey bar by the award-winning team behind Sydney institution Maybe Sammy. The flagship venue, Garaku, offers a traditional kaiseki experience — Japan's answer to the degustation. Ex-Tetsuya Executive Chef Derek Kim has crafted an exquisite and theatrical concept, with each dish offering an elegant interpretation of the four seasons. Meanwhile upstairs, Ibushi is a lively robata restaurant serving up smoke, skewers and sake while summoning shades of the bustling streets of Tokyo, led by Head Chef Chris Kim and Executive Chef Takashi Yamamoto. The most exclusive venue on the site is Omakase, an intimate eight-seat diner aiming to set a new gold standard for the classic Japanese chef's table experience. Master of omakase sushi, Akira Horikawa and Tomoyuki Matsuya from Hatted restaurant Kame House, will be feeding the lucky few who manage to bag a seat at their coveted bar. There are also plans in the works for a rotation of celebrated Japanese sushi masters to visit as guest chefs. Exploring the ways Japanese cuisine has influenced dining cultures around the world is FIVE, featuring a modern European menu reimagined with Japanese flourishes conceived by Head Chef Hiroshi Manaka, formerly of Charlotte Bar & Bistro. The name is inspired by the five core fundamental elements expressed in the menu: taste, colour, cooking, moderation and the senses. The latest venture from Maybe Group is Whisky Thief, a bar for both seasoned whisky enthusiasts and newcomers to the amber dram. Expect an impressive list of aged drops alongside the kind of creative cocktails the Maybe Sammy team is famed for. Finally, Dear Florence, a classic patisserie, is serving up delectable sweet treats and refined desserts created by Executive Pastry Chef Aoife Noonan. Top image: Anson Smart
Located across from Narrabeen Beach, this Asian-fusion diner from the team behind Paddington favourites Chubby Cheeks and Armchair Collective showcases a menu developed by ex-Mimi's chef Julian Laczyc-Wyhowski. Featuring a mix of contemporary twists, Fat Pomelo offers small 'chubby bites' and hearty mains reflecting its warm and inviting atmosphere. Stunning interiors from Giant Design take their cues directly from the venue's name. The pomelo, a large citrus fruit often displayed and consumed for good luck over Lunar New Year, is a symbol of prosperity and fortune and the heart of this venue's concept. With a bright and lively main dining space as well as intimate private rooms, Fat Pomelo offers an ideal and welcoming space for any occasion.
They say your body is a temple, but it can be hard to find your inner sanctuary without being in an actual sanctuary. A trip to Port Douglas could fix this, with the Pullman Port Douglas Sea Temple Resort & Spa giving you all the calm and relaxation time you need, with a generous serve of beautiful Port Douglas surroundings thrown in. This far-north Queensland holiday spot is right on the doorstep of two of Australia's biggest natural attractions — the Great Barrier Reef and the Daintree Rainforest. Snorkelling, scuba diving, sailing and seaplane tours regularly set off from here out onto the reef, and while most people explore the Daintree on foot through its hikes, you can get a different view via 4WD, horseback or zipline. Don't discount the pleasure of spending time in Port Douglas itself, either; the holiday town has an upmarket feel, with restaurants serving high-level contemporary cuisine and a local microbrewery, Hemingway's, producing pilsener from the freshwater of nearby Mossman Gorge. With one of the biggest lagoon pools (3000-square-metre) this side of the earth, the 5-star Pullman Port Douglas Sea Temple Resort & Spa resort is situated smack bang on Four Mile Beach, Port Douglas' trump card when it comes to sand and sea. Guests can stay in studio spas, swim-out apartments, or go all out and stay in apartments that feature their very own plunge pool. On-site restaurant AQUA has you covered for contemporary food made from fresh local produce, and the resort also has a day spa, Vie Spa, with eight treatment rooms – which means there's a whole lot of pampering to be had. When you're all pampered out, head on over to the adjacent 18-hole golf course, or venture out a little further to explore Mossman Gorge and the Daintree Rainforest – or add a tick to your bucket list and hop on that boat to the Great Barrier Reef. Most people come here during the Australian winter, avoiding the rain and humidity that is at its worst from January to March.
Want to experience the buzz of live sumo without the hassle of that long flight to Tokyo? You're in luck, because you can experience the thunder of one of Japan's most ancient and traditional sports here in Australia over one action-packed weekend. On Friday, January 19 and Sunday, January 21, Melbourne and Sydney respectively will play host to 'Sumo International Downunder'. Punters will get to experience all the show and panache that comes with live sumo, including a traditional pre-match Taiko drumming show. Hiroki Sumi, a huge figure in the sumo world, will be the star of the show. Known for his appearance in Netflix's 2023 series Sanctuary, he has gained international recognition beyond traditional sumo circles. Although he plays a fictional character in the series, Sumi is a genuine world-class sumo wrestler, and his appearance in Australia is a massive get. Special VIP tickets are available if you fancy donning a mawashi (sumo belt) and trying some sumo wrestling on stage. VIPs will also get an exclusive meet-and-greet with the sumo wrestlers, including Sumi himself. Melbourne's Festival Hall will host two events on the same day, with the first starting at 11am and the second at 6pm, while Sydney's Aware Super Theatre will host the final show at 7pm. [caption id="attachment_878169" align="alignnone" width="1920"] Alessio Roversi (Unsplash)[/caption]
It takes a fair amount of chutzpah to open your first bar — and a wine bar at that — and call it "a bartender's bar", but Enmore Road spot Bar DEMO isn't about playing by the rules. What it does have, though, is some serious credentials to back up its claim: run by seasoned bartenders (and first-time owners) Claudia Morgan and Olly Churcher, who met while working at Double Deuce Lounge, the 50-seat venue doesn't take itself too seriously — except when it comes to its mood-driven wine list, its tight, fuss-free cocktail offering and a hi-fi sound system spinning vinyl records in full all night long. Inspired by the new wave of casual, walk-in wine bars found in San Francisco, Paris and Berlin, Bar DEMO welcomes both serious oenophiles and the vino-curious alike. Its approachable 60-bottle wine list isn't grouped by grape or region, but rather by mood, whether you're after something easy to drink or feeling like a grown-up wine. There's also a solid selection of bottles for under $100 and around a dozen on rotation available by the glass in two sizes, with a focus on natural producers. A sharp cocktail list is just as considered, with playful selections like two-sip 'fun-sized' serves, throwback classics — dark 'n' stormy, anyone? — and creative signatures like the teeth-chatteringly cold house martini served at –15 degrees. There's no kitchen here, but you will find some great snacks curated with drinks pairing in mind, like Cantabrian anchovies, LP's charcuterie, and cheese prepared to order. Once a month, Bar DEMO will host Sunday guest chef pop-ups, which will see some of Sydney's top kitchen talent whip up a selection of exclusive, no-fuss small plates each at under $20. It's not just the drinks here that hint at the kind of space Morgan and Churcher want Bar DEMO to be — the venue's personality comes through in every detail, from its booth-lined layout to the nightly soundtrack of vinyl LPs played from start to finish on a sound system handmade by Marrickville studio Translate Sound. It's all intended to create a space for connection and conversation, with the kind of off-the-cuff energy that invites you to settle in for the night, even if you only came in for one drink. Images: Katje Ford.
If December approaches and a new festive film isn't hitting cinemas, is it really Christmas? In 2020, as in pretty much every year before it, we won't find out the answer to that question. Heading to the big screen just in time for the merriest portion of this year's calendar is rom-com Happiest Season — the newest addition to the hefty lineup of holiday-themed movies competing for your eyeballs whenever the tinsel, trees and twinkling lights come out. Following in the footsteps of 2019's Last Christmas, 2018's The Grinch, 2017's A Bad Moms Christmas and 2016's Bad Santa 2 and Office Christmas Party — just to name a few recent festive flicks — Happiest Season plunges viewers into one couple's seasonal experience when they decide to meet the parents over the holidays. Abby (Kristen Stewart) heads home with Harper (Mackenzie Davis, Irresistible) to meet the latter's mother (Mary Steenburgen, The Book Club), father (Victor Garber, Dark Waters) and other relatives. The catch: Harper's folks don't know that she's gay, or about her relationship with Abby. Also, Abby was actually planning to propose at Christmas dinner. While Happiest Season is heading to streaming in the US, it'll hit cinemas in Down Under on Thursday, November 26. That's when audiences are in for some heartfelt and amusing holiday antics as Harper and Abby try to navigate their tricky situation — if the film's just-dropped trailer is any indication, that is. Happiest Season's star-studded cast also includes GLOW's Alison Brie, Parks and Recreation's Aubrey Plaza, Schitt's Creek's Dan Levy and Crazy Ex-Girlfriend's Burl Moseley. It's directed and co-written by a familiar face, too: actor-turned-filmmaker Clea DuVall, who has appeared on-screen in everything from The Faculty and Girl, Interrupted to Veep and The Handmaid's Tale. Check out the trailer below: https://www.youtube.com/watch?v=j_jjELPpKkk&feature=youtu.be Happiest Season opens in cinemas Down Under on Thursday, November 26.
Found inside an 1880s-built former chapel, Acadèmie Salon is a neighbourhood hairdresser that aims to bring out the best look for you, rather than give you an extreme TV-style makeover. The Annandale salon is run by Mikele Simone and Richi Grisillo, whose team of stylists makes you feel like a rockstar. Speaking of which, the salon has been known to cater to genuine celebs. But don't let that put you off, as whoever walks through the archway entrance is treated with the same premium haircare and expert advice as those with a public profile. Like many salons, pricing is a reflection of the stylist's level of skill and experience, but you can expect to pay between $100–120 for a hair cut (including wash, massage and blow dry) and between $90–200 for a colour treatment. Keratin treatments, balayage, bridal appointments and blow drys are all par for the course here, too. Images: Cassandra Hannagan
The monopoly supermarkets once held over us food eaters has waned in recent years. Market halls are becoming the logical response to people's renewed interest in small batch, bespoke, local, sustainable, organic produce, because who wants to spend hours traipsing all over the city looking for the good stuff? Not us. Luckily, Sydneysiders now have a providore marketplace which brings all the aforementioned things together in one location for you to pack into your roll-along nanna trolley. As well as housing Archie Rose Distillery, Black Star Pastry, Three Blue Ducks and Italian restaurant Da Mario, The Cannery also offers everything you need to live a wholesome, healthy life together in one place. The huge 4500-square-metre retrofitted warehouse in Rosebery has a greengrocer, a butcher, a baker, a coffee roaster, restaurants and a cooking school. It's been in development for some time. The first stage saw Grain Organic Bakery, Zeus Street Greek, 5th Earl and The Choc Pot open their doors, then came Vive Cooking School, organic grocer Wholefoods House, artisan butcher Kingsmore Meats and Welcome Dose Specialty Coffee. It also landed a sustainable bottle shop, The Drink Hive, which features refillable beer and wine stations, and regular market days on weekends.
We've been waiting for this one — Barangaroo's first rooftop venue has officially opened. It makes sense, really; with a direct view over Darling Harbour, it feels like a small crime for all the bars and restaurants to be relegated to ground level. And so it's with open arms that we're sure the people of Sydney will welcome Untied, the latest opening in the waterside foodie precinct. With a location on level four of 400 Barangaroo Avenue, Untied opened on Wednesday, January 25. Channelling the tropical northern Queensland rainforest, the indoor-outdoor bar features lots of lush greenery, vivid colours and room for 260 people all up. The menu follows the Australian theme with a combination of Australian-inspired dishes, including bar snacks, a selection of BBQ share plates and even a raw bar with all the oysters you can handle. After you've shucked and sucked, chase it with one of their cocktails — preferably the Flamin' Galah (with gin, ginger syrup, watermelon and lime) or the Hills Hoist, a mixture of rum, fresh kiwi puree, bitters and egg white. Untied comes from Dixon Hospitality, the group that owns The Norfolk, The Forresters, and, just recently, six of the now-defunct Keystone Group venues. It joins the likes of Belles Hot Chicken, vermouth bar Banksii, sushi fave Zushi, Bentley-run restaurant Cirrus and the new Ume Burger, along with a whole heap of others. Exterior images: Alana Dimou.
One of the enduring joys of staring at a screen, big or small, is the nifty knack that movies and TV shows can have for delivering treasures viewers didn't know they needed. We should've realised we had to see Michelle Yeoh hop across dimensions to save the world before Everything Everywhere All At Once arrived, for instance. We should've gleaned that Timothée Chalamet would make a compelling cannibal prior to Bones and All, too. And, it should've been obvious that Adam Scott plunging into an office nightmare would be instantly addictive viewing, but it took Severance to make it plain. Now, Shrinking joins the list by giving the world what we've truly been lacking: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+ — with its first two episodes hitting on Friday, January 27, and the remainder of the ten-episode first season dropping week by week afterwards — Bill Lawrence, Brett Goldstein and Jason Segel didn't miss Shrinking's immediate potential, though. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. It's worth remembering that Scrubs featured a very funny and clever nod to Ford, which likely makes his casting here a dream come true for Lawrence. Round up all of these familiar elements, details brought over from elsewhere and past references, and Shrinking turns them into a series that's thoughtful, supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. Ford is the biggest name among Shrinking's many recognisable faces, because a career forever tied to the Blade Runner, Star Wars and Indiana Jones franchises will do that, but he's in supporting mode. Segel (Windfall) leads the show as Jimmy Laird, a therapist who is initially seen waking up his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife) in the deep of night while hanging out with sex workers and self-medicating around his backyard pool. She's not mad, however, because he's been like this for some time — and she's been helping keep his life running, primarily by being a surrogate parent for his teenage daughter Alice (Lukita Maxwell, Generation). A year back, Jimmy's wife Tia (Lilan Bowden, Murderville) passed away; saying that he's struggling to cope is an understatement. As overused and irritating as the dead-wife trope is — men can flounder all by themselves without a deceased spouse to blame — Shrinking thankfully unpacks the concept. It explores how Jimmy's all-or-nothing attitude has always been part of his persona, questions his idealised view of his marriage, and establishes that his faults weren't suddenly sparked by going through what nobody ever wants to. Co-scripting as well, Lawrence, Goldstein and Segel also ensure that Shrinking examines how loss affects more than just middle-aged white men unexpectedly without wives, courtesy of not just Alice but also Jimmy's colleague and Tia's best friend Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). And, while never underplaying the existence-altering weight of grief, it spies how everyone is the sum of their best and worst experiences, including Jimmy and Gaby's boss Paul (Ford, The Call of the Wild), Liz, Jimmy's estranged pal Brian (Michael Urie, Younger) and Jimmy's patients. Shrinking isn't called Shrinking without capturing its therapists in action; add it to the pile of recent fare, such as The Patient and The Shrink Next Door, that jump on and off the couch. Shrinking's twist: after taking his Liz-interrupted evening as a wakeup call, and attempting to work through his mourning and be an attentive dad again, he decides to ignore ethics, get frank and shower his patients with tough truths. Tired of discussing their woes endlessly without seeing changes, and suffering from compassion fatigue, he makes drastic moves — threatening not to be Grace's (Heidi Gardner, Saturday Night Live) shrink any longer if she doesn't leave her abusive husband, for example, and taking new patient Sean (Luke Tennie, CSI: Vegas), a young war veteran with anger issues who'll soon be living in Jimmy's pool house, to box out his feelings in the ring. Both sweetness and melancholy linger in Shrinking as it finds as many ways as it can to layer in one of therapy's key takeaways: that working through everything that life throws your way, and also working on yourself in the process, is never simple. Talk reigns supreme, whether Jimmy is desperately trying to get back on Alice's good side, Alice is confiding in Paul instead, Paul makes what he says count, Gaby gets drawn deeper into Jimmy's dramas or Sean is endeavouring to move on from his military service while avoiding confronting its impact. An embracing, cosy, feel-good vibe radiates, too — in a series that's another hearty hug, as Ted Lasso is, but one that's sharper about the pain that everyone carries for their own multitude of reasons. Shrinking could've just gifted viewers Ford's second-ever regular small-screen role in his almost six-decade career — arriving swiftly after his first in Yellowstone prequel 1923, in fact — and been happy coasting on Ford's presence. He's unsurprisingly exceptional, and wanting more of his no-nonsense but soft-hearted veteran shrink if a second season eventuates springs exactly as expected going in. He's pitch-perfect as the show's resident grump, and at fleshing out the reasons why. He's fragile when diving into Paul's own troubles and regrets, warmly wise dispensing advice to Jimmy and Alice, and hilarious when he's getting blunt and also singing terrible tunes. And he's just one terrific component that makes Shrinking click, alongside knowing that being alive is constantly juggling an array of components and making the most of whatever you can. Check out the trailer for Shrinking below: Shrinking streams via Apple TV+ from Friday, January 27.
Kūrumac, the Japanese translation of Kirribilli sister cafe Cool Mac, has arrived in Marrickville serving up Japanese comfort food for breakfast and lunch. Business partners Eugene Leung and Dika Prianata have decorated their new inner west cafe with a colourful mural from local artist collective Ar-chive, which celebrates both old and new Japan by combining a traditional food stall with a vending machine selling gyoza, bonsai and sneakers. This melding of old and new is a carried throughout the rest of Kūrumac, too. "It's a modern space, but the food is home-cooking," explains Leung. Cooking the food is Cool Mac Chef Junichi Okamatsu, who's serving up twists on some of his favourite childhood dishes, such as the udon bowl, which was inspired by a dish from his home in Yatsushiro. The noodles sit in a hot tasty broth topped with wagyu beef and sesame, and are served with a side of crispy fried shrimp. It's not what you'd normally find on an inner west cafe's breakfast menu, but that's exactly what Kūrumac is all about. As Leung says, the team wants to make food that Japanese locals "would get served for breakfast by their parents". The spicy cod roe piped onto classic thick-cut Japanese white bread, topped with cheese and grilled, is another winner from the menu. For lunch, from 11am, you can grab something a little greener, such as the seared salmon, avocado and yuzu kosho — a spicy and citrusy condiment — salad. During Sydney's long hot days, the cafe has you sorted with loads of cooling Japanese drinks, including iced mugicha (a barley tea); green tea or hojicha (a roasted Japanese tea) milkshakes made with gelato from Newtown's MaPo; and Ume Burger's house-made sodas. Images: Kimberley Low
Few great things spring from being sent to boarding school, but Warwick Thornton's The New Boy is one of them. Decades have passed since the Kaytetye filmmaker was taught by Spanish monks at a remote missionary-style school after getting into trouble growing up in Alice Springs, but he now reflects upon the experience in the type of film that he's made his own within Australia's cinematic landscape: a deeply felt, stunningly shot, hauntingly acted and searingly impassioned tale of First Nations survival. When Thornton's feature debut Samson & Delilah arrived in 2009, it too pondered the subject. Winning the Cannes Film Festival's coveted Caméra d'Or for Best First Feature, it cemented Thornton as one of the country's best filmmakers working today. Sweet Country similarly wowed and blistered as it tackled the nation's long history of racial prejudice — and, premiering at the Venice International Film Festival, earned more international attention. With The New Boy, Cannes came calling again, then Sydney Film Festival's opening-night slot, and now a countrywide release during NAIDOC Week. "I'm Aboriginal — every day is survival for us," Thornton tells Concrete Playground. "Successions of governments have been trying to get rid of us for a very long time, through the last 200 years… So unpacking survival, and learning, and trying to work out what the fuck just happened, it's me. It's part of my life. It's what I do. And I've got a voice. I get money off the government to tell the government they're terrible. That's bizarre — that happens, and that's what I do." [caption id="attachment_908526" align="alignnone" width="1920"] Belinda Rolland © 2023/SFF.[/caption] The New Boy isn't autobiographical, but it always feels personal. Set in the 1940s as the Second World War rages abroad, it sees the film's namesake (newcomer Aswan Reid) get scooped up by outback law enforcement and delivered to a church-run orphanage, where his Indigenous culture and spirituality comes into conflict with Christianity. It's a story about forced conformity and assimilation, and fighting back however one can. It's history in a microcosm. It also teams Thornton with another Australian cinema icon: Cate Blanchett. "Rock 'n' roll! Aren't I very lucky! Isn't this amazing? Shit, Cate Blanchett's just called me and wants to make a movie — life's too short" — that's how Thornton reacted when two-time Oscar-winner and 2023 nominee (for Tár) gave him a call. "It's good for the ego, obviously. Then you go 'god, I've got to do something. I've got to come up with some brilliant idea right now that we can go and make while I've got her on the phone'. And obviously that doesn't happen. You slow down, and you take your time, and you're thoughtful about it. You don't just pitch any shit to Cate Blanchett, because she might go 'oh no, he's an idiot, that's a terrible idea'. So you've got to think about things, and plan some kind of attack on making yourself seem like you're really cool and you have lots of great ideas." Thornton did have something up his sleeve: an 18-year-old script inspired by those boarding school days, but featuring a priest. In the project's past life, French The Big Blue and The Professional actor Jean Reno had been in talks to star. Swapping the character to a nun gave Blanchett a part — which Thorton tells us about, alongside drawing from his own life, finding the next David Gulpilil in Reid, sharing tales of Indigenous survival with the world, balancing tragedy and hope, Adam Sandler movies and the full cinema experience. ON REWORKING AN OLD SCRIPT FOR CATE BLANCHETT "I hate writing. I think it's incredibly painful, and it takes me years. So if you do want to go down that process, well, we wouldn't be here having this conversation — I'd still be writing something. It takes a long time, and it's horrible. Writing is full of pain and angst — and you would rather go to the pub than actually write any words, because there's so much fear in a blank page, so much danger in it. And, so much you happiness as well, but I'm so scared of the blank page — I write with pen and paper, I don't own a computer, I don't know how to type. So you just stare at a blank page and go 'ohh this it's going to hurt'. Then, three years later, you come out of it and you've got something. Then it takes maybe another year to redraft it and get people's opinions. So remembering that I had that script kind of saved my arse, in a strange way, because I didn't want to go down another three-year process. I've got other scripts, but they just they they wouldn't be right for Cate, that I have been writing. So it was either that script or I write something new — and we wouldn't be here talking, I'd still be writing, if I was actually going to write something." ON SPARKING THE NEW BOY FROM EXPERIENCE "You use your experience in life to to get the foundations of what you think might be a good idea for a movie. I'm 52 years of age. I've lived, I've loved, I've died, I've cried, I've divorced, I've married. So you dwell on your own shit. I don't know if I'd be very good at writing a movie about a gecko because I've never been a gecko or goanna. So you just dwell on your existence, and that's where your foundations come from. I think all writers do that — nothing special to me. The reason why it took so long for it to be made, or to get to this point, was because it was actually a really bad script. [It was] pretty clear it wasn't working. Protagonist, antagonist, the arcs are all arse up — and it took someone like Cate to come along to empower me to fix it. But is there any writer who doesn't dwell on their own existence, and how they felt when someone said 'I don't love you anymore'? All that kind of shit? I'm sure every writer does that — it's kind of part and parcel of writing." ON SWAPPING A PRIEST FOR A NUN, BUT LEAVING THE OTHER CHARACTER DETAILS "That was very clear from Cate, because I thought 'well, we will have to do some some serious drafting to rebuild it to do it with the nun'. And she was very adamant — and, really, she's so bloody smart. I didn't see it. But she's seen it straight away: 'don't change the arc of of the character and what the character actually does'. So it's a nun having to do a priest's job and, obviously in that world, nuns can't do priest jobs. They're not allowed to actually do priest jobs. That created such such a great dynamic for for the character, and she was very clear about that. 'Don't go mucking, don't go fucking it up now Warwick! — because that stuff really, really works well for Sister Eileen'. It's like 'of course it does'. It it easier for me — I didn't have to write as much." ON CASTING DEBORAH MAILMAN AND WAYNE BLAIR "Deb and Wayne are really good friends. I shot The Sapphires for Wayne [which Blair directed] back in the day. And I shot Radiance for Rachel Perkins back in the mid 90s — crikey — one of Deb's first feature roles. So we've always been good friends, and I've always wanted to do something really focused, and I thought they were the best actors to be those characters. I told them that I was writing something and they're in it. And they were like 'bring it on, no worries'. So they knew. When it was the older draft, with the monk, I'd already cast them — I wanted them to play those roles even back then. So they were cast even before Cate." ON FINDING ASWAN REID "I was beguiled and freaked out. He looked perfect. He was exactly what the image in my head was of the New Boy. But with that comes a lot of fear because, first-time actors, children on set — they can do the first week, they do the first day, and then go 'I don't like this, I don't want do this anymore', and then just walk away. And you just can't make them do it. So it created more fear because he looked perfect. But that created a lot more fear about 'is the universe going to look after us, are we going to be okay?'. Because you're not casting just a child — you're casting the family. How's his mum and dad? Are they sensible human beings? Because they're going to be on set with us a lot as well. There's so many things come into play when you cast first-time actors, especially kids from communities where making a film is not necessarily that important to them. I think there's a lot of children in LA whose mothers tell them that this is the most important thing they're ever going to do, but for a kid from Kiwirrkurra — I don't know, is going and making a movie that important? I don't know. He had a great time. And he wants to make more movies now, which is fantastic. I think it was a year that we lost Gulpilil and we found Aswan. I think it's one of the most beautiful, strange worlds we live in." ON SHARING FILMS ABOUT INDIGENOUS SURVIVAL WITH THE WORLD "There's a hunger out there for Indigenous storytelling. We still run on a three-act structure — an arc of three acts, beginning, middle and end, which is, ironically, life: you're born, you live, you die. Everything works that way. So that we could transcend these kind of conversations, but from an Indigenous point of view — I think people are getting interested, because we used to make films, especially in Australia and actually in America as well, we made a lot of movies from the suburbs looking at the the mountains. And the fear and the darkness, and wild west and badlands, in a way. It was always from the veranda, from safety, that we would look out at that — and Australia did it a lot, and so did North America. Now people are interested in a different point of view — and that other point of view is from the mountains, from the forest, looking at the people sitting on the veranda. And from our point of view, which is from the badlands or the wild, but looking at and studying these people who are too afraid to come up to the veranda and meet us. [caption id="attachment_655044" align="alignnone" width="1920"] Sweet Country[/caption] That's the way Indigenous people make movies, in a way. That's our point of view. And I think people are interested in that, so that's why I think the films did quite well around the world. There's a duty of care — when we make stories, it's a very big duty of care about what we say and what we portray about who we are as Indigenous people. It's a big point, and there needs to be a lot of honesty from us about that. And I think people enjoy that and they feel that when they see our films." ON BALANCING TRAGEDY AND HOPE — AND MUSING ON FAITH Well, The New Boy does represent who we are and what happened to us being colonised — but, you know what, we're still here. So there's hope. We're still here. So, obviously, he is what happened to us. Christians came in. Colonisation came in. New laws came in, new rules, new regulations. We had to fit in. We lost a lot. But we're still here and we're gaining a lot now because our form of spirituality is evolving. It's not a bunch of commandments banged into a rock. We have to evolve, and we have to move with the times, and that's what we're doing. And so it is hope and it's survival. There's room for all, I guess is what I'm trying to say. I think the religions that actually believe that there's either their way or hell, and anybody who does not become part of conforming to what they think will burn — and there's only two two options, right or wrong — it's a very dangerous place. Actually, that kind of concept will die one day. That will actually kill itself because it won't move and ebb and flow, and it's not evolving properly." [caption id="attachment_861204" align="alignnone" width="1920"] Mark Rogers[/caption] ON WHAT MAKES A WARWICK THORNTON FILM — AND THE FULL CINEMA EXPERIENCE "All my films have Adam Sandler in it, and they go 'oh, it must be a Warwick Thornton film'. I reckon that'd be really good. It'd be really funny, and tragic. I like him. If you see Adam Sandler on the poster, or a film by Happy Madison Productions, you know what you're going to get — you know when you buy that ticket, you know what you're going to get, and so don't expect anything else and just enjoy it for how stupid it is. Life, cinema, has room for pure popcorn and milkshakes. And then it has room for red wine and biscuits. There's so much scope in the arts, and everyone has a right to have the most ridiculously stupid films to the most blinkered, depressing auteur crap — like what I make. There's room for it all. It's such a beautiful medium. You can go to a cinema and have a mindless laugh. Or you can go to the cinema and have, not go into a lecture, but be entertained but actually walk out with a lot more knowledge about humanity, and existence, and points of view from countries and cultures that you'd never have access to in real life — but you do, cinema gives you that access. So it's such a beautiful, special place." [caption id="attachment_861205" align="alignnone" width="1920"] Mark Rogers[/caption] ON JUMPING BETWEEN FICTION AND DOCUMENTARIES "Whatever it is, it's horses for courses — not all stories are documentaries, and not all stories are fiction and features. So you get to a point where you go 'I'm so over a crew of 200 and blowing ridiculous amounts of money, and having that minute frame-by-frame control'. And so I want to go with David Tranter, sound recordist, to just go into the bush and make a beautiful documentary about someone or something — and live around the campfire, and cook rice and curry on a campfire, and just really focus and become this nurturing little unit. Then, after I do that, I'm covered in mosquito bites and rashes, and probably about to lose a a toe because I stubbed it and then it got infected — and I go 'I want to go back to features, I want to go back to catering'. You get bored with one, and then the grass is always greener on the other side. At the moment, I'm obviously doing fiction and features — and the grass, the greener grass at the moment, is in documentary for me. And when I get there, I'll realise that the greener grass is in fiction." The New Boy opened in Australian cinemas on July 6. Read our review. The New Boy images: Ben King.
Sydney is filled with excellent live music venues, so standing out among the plethora of stellar spots can be tough. But the brains behind the city's latest large-scale music program have managed to make their mark by unlocking a completely underused cliffside venue for their venture: The Barracks Precinct in North Head. From Friday, September 9 till Sunday, October 9, you and your crew can experience incredible live shows just up the road from Manly CBD at Night at The Barracks. The music program is broad and includes much-loved artists such as Jessica Mauboy, Josh Pyke, Emma Donovan and The Putbacks, Something for Kate, Winston Surfshirt, The Rubens, parody tribute stars Björn Again and more. Plus, Sydney Dance Company will take to the stage in an impressive night of contemporary dance including a performance of its sell-out show Impermanence on Saturday, September 24. There'll be local food and beverage legends keeping you refreshed on site, as well as exclusive deals for Night at the Barracks guests at nearby restaurants. Make the most of your night in the north with a delicious dinner in Manly before a 20-minute walk to the venue. Or, take the shuttle bus direct to the digs from Manly Wharf and save your energy for grooving instead. Keen to catch a gig at this impressive venue? Night at The Barracks will take place from Friday, September 9 till Sunday, October 9. To see the full lineup and to book tickets, visit the website.
It's no secret that the last few years have seen the hospitality industry need make some swift changes to its modus operandi. Businesses had to adapt or run a very large risk of not making it through. Although this free fall-like state has surely been clear to all, Uber Eats has taken it a step further and surveyed hundreds of restaurant operators nationwide to co-produce Pulse Check: Restaurant Report 2022, a piece of analysis highlighting key areas of challenge and opportunity for the industry as it continues to manage the shockwaves brought upon by the pandemic. Interestingly, the data revealed a whopping 92% of restaurants remodelled their business in some way during lockdown. Of course, the industry took a lot of hits, but more than a few businesses have come out in better shape than they could've imagined. One such business is El Jannah, the widely loved — and continually expanding — charcoal chicken joint. Together with Uber Eats, we sat down to chat through the ins and outs of the hospitality industry with Brett Houldin, El Jannah's CEO. Our mission? To find out how he and his team work, what they focus on and why he thinks they've thrived during an obstacle-ridden time. Have a watch below, and read on for the low down. https://vimeo.com/756994014 AUTHENTICITY IS FRONT AND CENTRE Houldin puts authenticity front and centre — El Jannah does what it knows and does it well. (Some would even say it does it perfectly). Of course, some pivots were made — especially as orders via delivery services exploded — but the chicken aficionados held true to what customers love and expect in every visit, no reinvention in sight. How that was possible? Houldin reckons it's thanks to an unwillingness to compromise on "the food quality, the ingredients and the healthy attributes". THE EXPERIENCE Something else that relies on authenticity (and contributes greatly to a diner's experience) is an environment that's friendly and memorable. When expertly executed, this generates a deep loyalty in a customer base — an all too familiar situation where El Jannah's concerned. "[Our customers] treat it like an extension of their friends and family," Houldin shares. "They know people by name, they can tell you a lot about their last food occasion, their first experience. They want to tell their friends and family about what that looks like and how that felt. And I think that, in turn, brings a lot of people coming through." "CULT-LIKE BEHAVIOUR" What's certain is that El Jannah has created a dining experience (even when delivered to your home) that keeps people coming back. And without well-trained staff giving friendly, top-quality service, that probably wouldn't be achievable. "That cult-like behaviour is growing with us as we expand into more locations across Sydney and Melbourne," says Houldin. "That's what's made us stand out." All this chat put you in the mood for El Jannah chicken? Head to the website to find a location near you, or place your order via Uber Eats. Top image: Jarrad Shaw
Any frequent travellers will tell you that the friendships you develop on the road can be some of the most life altering. So imagine, as a budding painter venturing out into the world, you encountered and befriended some of the artists who were to become the most famous of their generation. That's the exact scenario Australian painter John Russell found himself in while living and studying in London and Paris in the 1880s and 90s. As well as developing a close friendship with Vincent van Gogh, Russell also taught Henri Matisse colour theory, dined with Claude Monet and — amazingly — was even temporarily stranded at sea with Auguste Rodin. It's quite the crew — and one in which Russell found his place as a French Impressionist. Now, the first major survey of Russell's work in 40 years is at the Art Gallery of NSW. Open now and on view until Sunday, November 11, John Russell: Australia's French Impressionist showcases more than 100 of the 'lost' impressionist's paintings, drawings and watercolours drawn from major international and Australian art institutions and private collections. Fittingly, these are accompanied by works of his contemporaries: Claude Monet, Auguste Rodin, Henri Matisse and Vincent van Gogh. It was within this creative circle that exhibition curator Wayne Tunnicliffe says Russell "found his artistic voice". Russell was one of our first truly international artists, but — compared to his contemporaries — largely flew under the art radar. So don't worry if you hadn't yet heard of him. This exhibition offers Sydneysiders an opportunity to engage directly with his time spent abroad, and his subsequent evolution as an artist, and they follow Russell's journey through impressionism and experimentation with pure colour, right through to his later vibrant watercolours. Highlights include Russell's 1886 portrait of Vincent van Gogh, as well as six of his blossom paintings from 1887, which are said to have inspired the famous Dutch painter. To accompany the exhibition, AGNSW will also host a number of guided tours and talks to further delve into Russell's works and the themes explored in them. John Russell: Australia's French Impressionist will be held at the AGNSW from July 21 to November 11, 2018. Tickets are $20 per person ($16 for members) and can be purchased via the AGNSW website. We're also giving away ten double passes to the exhibition. To enter, see details below. [competition]679817[/competition] Images: John Russell, Mrs Russell Among the Flowers in the Garden of Goulphar, Belle-Île, 1907; John Russell, Rough Sea, Morestil, c1900; John Russell, The Garden, Longpré-les-Corps-Saints, 1887.
Joining the slate of hidden or underground speakeasies that are becoming a staple of Sydney's casual drinking scene is Circular Quay's new wine bar paying homage to its Italian heritage. Bar Messenger is an elegant establishment celebrating the history of Australian drops in an art deco-inspired venue. Hidden underneath a sculpture created by Australian artist Raynor Hoff that depicts Mercury — the Roman messenger god — is where you'll find the entrance (or just below Transport House for those who do not fancy undertaking a scavenger hunt to locate the artwork). In order to gain entry you'll have to follow the instructions printed beside the doorway-sized painting bearing the venue's name. Inside, you'll be met with stylish interiors designed by DAARC's Simone Barr, Brisbane-based architect and interior designer. Seating 120, the sophisticated wine bar features a warm earthy colour palette with splashes of green throughout, paired with eclectic light fixtures. Bar Messenger is home to an extensive wine list starring some recent bangers and a selection dedicated to 'Mercury's Marvels', featuring 2018 Rockford Basket Press Shiraz and 2022 Grosset Polish Hill Reisling which the bar's team deem to be worthy of the gods. The list extends beyond Australian wines, featuring international drops like the Italian Bianca Vigna Prosecco and Veuve Yellow Label Brut Reserve from France, alongside a selection of spirits, classic cocktails and various non-alcoholic beverages. For bites, the toasties will immediately draw your attention — take your pick from the grilled cheese, the mortadella or the black forest ham. You'll also find a variety of share plates to choose from. Head over to 10 Phillip St 3pm-11pm on Wednesday, Thursday and Saturday, or 12pm-11pm on Friday, to check out the hidden gem for yourself.
In A Complete Unknown, Timothée Chalamet stepped into Bob Dylan's shoes in the 60s and charted his rise to fame. A trip to the past and aspiring to greatness is also on the actor's agenda in his next film. Instead of folk music, Marty Supreme's eponymous figure is passionate about ping-pong — and he's certain that it's going to be the next big thing. "I know it's hard to believe, but I'm telling you: this game, it fills stadiums overseas. And it's only a matter of time before I'm staring at you from the cover of a Wheaties box," Marty advises in the A24 movie's just-dropped teaser trailer. Welcome to your first sneak peek at the second of two features that are filling a very specific niche: 2025 releases (in the US, at least) directed by a Safdie brother solo and focusing on sports. Josh Safdie helms Marty Supreme. His Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems co-directing sibling Bennie has The Smashing Machine on the way, starring Dwayne Johnson's (Red One) as IRL MMA fighter Mark Kerr. Could 2025 nominee Chalamet and Johnson find themselves going head to head come awards season for different Safdie films? That's firmly a possibility. As Marty Supreme's Marty Mauser, Chalamet's task (or obligation, as his character puts it) is chasing the dream that is ping-pong success — for himself and for the game his loves, which no one else seems convinced of in the 50s-set flick's first sneak peek. Gwyneth Paltrow (The Politician) pops up in the Marty Supreme trailer as a famous movie star, while the eclectic cast also includes fellow actors Fran Drescher (A Tooth Fairy Tale) and Odessa A'zion (Until Dawn), rap star Tyler, The Creator, filmmaker Abel Ferrara (Turn in the Wound) and magician Penn Jillette. In America, Chalamet's latest film is a Christmas treat, releasing on Thursday, December 25. That's two years in a row that the merriest day of the year and Chalamet have gone hand in hand in the US, as A Complete Unknown also dropped on the same date. When Marty Supreme will hit cinemas Down Under hasn't yet been revealed. Josh Safdie co-wrote the movie with Heaven Knows What, Good Time and Uncut Gems co-screenwriter Ronald Bronstein, and helms a feature on his lonesome for the first time since 2008's The Pleasure of Being Robbed. Check out the first teaser trailer for Marty Supreme below: Marty Supreme releases in US cinemas on Thursday, December 25, 2025 — we'll update you on Down Under release details when they're announced.
Manning Cartell is one of Sydney's best boutiques for shopping ethically made, contemporary womenswear. Founded in 2005 by three sisters, the label is well-loved for its sculptural silhouettes, playful construction and collections that shake things up every season. Their signature cocktail dresses typically cost a pretty penny, but savvy shoppers can score a bargain at the annual warehouse sale this November. The annual warehouse sale will be held from 20 November 2025 – 23 November 2025 at Manning Cartell's Marrickville HQ, which will be converted into a treasure trove of rare samples, never-before-seen styles and past season grails. Expect price slashes of up to 80%, with tops and bottoms starting at $40. Dresses kick off at $90 — a steal compared to the usual $300–800 price tag. Racks are restocked daily, so there'll be plenty of gems to browse anytime. It's worth an after-work trip with the girls on the 20th and 21st, when the sale runs until 8pm. Weekend shoppers should get in early: closing time is 5pm on Saturday and 4pm on Sunday. Image supplied
Combining the holy trinity of music, performance and film together under one roof, Jumpboard Productions presents Live Live Cinema, a showcase of talent paired with a screening of Francis Ford Coppola’s 1963 horror film Dementia 13 and Herk Harvey’s 1962 cult classic, Carnival of Souls. Brought to life by New Zealand composer Leon Radojkovic, with multiple instrumentalists, actors and a foley artist, the films will be reinterpreted and a new, live soundtrack developed. To give some background, these films are usually produced with an ensemble performing the soundtrack; however, Live Live Cinema is producing all audio, dialogue and sound effects live. The result? An all immersive audiovisual environment that celebrates film, music and live performance all at once.
Cronulla may not have many cosy, dimly lit bars suited to wintry nights — but it really only needs one. This cosy hole-in-the-wall is famous for its whisky apple cocktail: fresh-squeezed granny smiths with a shot of single malt. Also behind the bar are locally sourced wines and a generous selection of craft brews. Then there's the hearty food offering, which pairs nicely with the extensive menu of dark spirits — think loaded fries, crispy pork belly burgers and popcorn shrimp. The Blind Bear has smoky, under-the-table mafia vibes, with red leather booths made from old palettes and hazy lighting. Plus, there's always some variety of mountain folk music playing. Image: Chris Jamieson
The Upside Down has arrived in Australia, specifically Sydney, again. When season four of Stranger Things dropped in 2022, a rift to the show's netherworld popped up in Bondi. Three years later, as everyone waits for the Netflix favourite's fifth and final season to stream sometime before 2025 is out, Stranger Things: The Experience has brought a whole host of Stranger Things nods this way — and entering its eerie realm is indeed one of them. Stranger Things: The Experience is making its Aussie debut at Luna Park Sydney courtesy of Vivid Sydney's 2025 program. Between Friday, May 23–Saturday, June 14, wandering into the venue's Crystal Palace means visiting 1986 — and also Hawkins, Indiana, of course — in an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about exploring recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang, however. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat, alongside making a date with the Upside Down. Christmas lights in the Byers' living room? Tick. Vecna? Tick again. Scoops Ahoy serving up banana splits and Surfer Boy Pizza offering slices? Keep ticking. The latter pair are found at Mix-Tape, an 80s-themed mall experience — as is the Palace Arcade, where MADMAX's high score begs to be bested, plus the themed cocktail-slinging Upside Bar. It's also where you can grab limited-edition merchandise. This trip into the TV series created by the Duffer Brothers was designed and developed with the duo. In its first-ever journey to Australia — after initially opening in New York in 2022, then enjoying stops in Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since — it falls into the Ideas portion of Vivid's lineup. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; since the end of 2024, the Harbour City tourist attraction has been hosting Squid Game: The Experience, letting small-screen fans dive into another streaming smash. At the time of writing, playing Red Light, Green Light with Young-hee in Luna Park's big top is on the agenda until late June, which is also when the South Korean show's third and final season premieres. Stranger Things: The Experience runs at Luna Park Sydney, 1 Olympic Drive, Milsons Point, Sydney from Friday, May 23–Saturday, June 14,2025. For more information, head to the Luna Park Sydney website. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Having launched in 1992, Simon Johnson has been selling quality ingredients sourced from the world's best artisan producers to chefs and home cooks for nigh on thirty years. But this old dog still has a new trick or two up its sleeve. Forced to adapt during the COVID-19 pandemic, after seeing its usual restaurant and hotel customers drop off because of the closures, Simon Johnson is opening a warehouse clearance store — which is great news for you. The providore market is transforming its Alexandria shop into the SJ Outlet Store, which will be a permanent direct-to-the-public clearance shop with discounted bulk and wholesale items, as well as its usual retail offering. And the discounts it's offering are, frankly, wild. When the Ralph Street store relaunches this Friday, May 8, it'll be offering 35–90 percent off everything from caviar and fancy condiments to cheese. Ninety percent off cheese, folks. Cheese. As well as cheese, the store will have its usual array of chocolates, honey, coffee, crackers, cooking equipment and so much more. While the hefty discounts do only apply in-store, Simon Johnson is also offering a delivery service to homes across Sydney metro. Find the SJ Outlet Store at 24A Ralph Street, Alexandria from 9am–5pm Monday–Saturday. Updated June 16, 2020.
So many movies, so little time. That's film festival life, including right now in Sydney. The 2023 Sydney Film Festival is happening at the moment, showcasing hundreds of movies in cinemas across the city — and, if you haven't been able to fit all your viewing into its 12-day run, you'll now have four extra days to help. As it usually does, SFF is hosting a Back By Popular Demand program in the days after the fest's official close. In 2023, those bonus screenings will hit Dendy Newtown and Palace Norton Street between Monday, June 19–Thursday, June 22. No, you're not done spending your nights in darkened rooms just yet. There's 13 films to pick from and, as the name makes plain, they're all flicks that've been proving a hit with crowds so far. That includes straight-from-Cannes titles May December, starring Natalie Portman (Thor: Love and Thunder) and Julianne Moore (Sharper); Perfect Days, with German filmmaker Wim Wenders (Submergence) heading to Japan; and Anatomy of a Fall, a drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder, which just won French director Justine Triet (Sibyl) the Palme d'Or. Also on the list: whistleblower docudrama Reality, starring Euphoria and The White Lotus' Sydney Sweeney; the obviously film-loving I Like Movies; environmentalist tale How to Blow Up a Pipeline; and kaijus via Shin Ultraman, which springs from the creators of Shin Godzilla and Neon Genesis Evangelion. Or, there's Smoke Sauna Sisterhood, a documentary about an Estonian log-cabin sauna; fellow doco A Storm Foretold, focusing on Donald Trump's former adviser Roger Stone; and Beyond Utopia, about a family of five trying to escape from North Korea. Plus, Scrapper won the Sundance Grand Jury Prize (World Cinema Dramatic), Riceboy Sleeps follows a Korean single mother and her son as they start a new life in Canada in the 90s, and Sunflower spins a coming-of-age tale in the Melbourne suburbs. Some films have multiple sessions, while others are returning for just one — but, either way, your time at SFF for this year definitely isn't over yet. Sydney Film Festival's 2023 Back By Popular Demand bonus screenings hit Dendy Newtown and Palace Norton Street between Monday, June 19–Thursday, June 22. Sydney Film Festival 2023 runs from Wednesday, June 7–Sunday, June 18 at various Sydney cinemas — head to the festival website for further information and tickets.
Throw us Sydneysiders a bit of sunshine and we'll take just about any inside activity to the great outdoors. Open-air moviegoing, however, is a clear favourite. Each year we inevitably see our favourite outdoor cinemas return for the summer and a couple of newbies pop up too. From films overlooking Sydney Harbour to movies nestled in the Hills, these cinemas showcase the best new releases and cult favourites under the stars. So pack a snack basket of wine and cheese mandatory, some Aeroguard and get your butt on a picnic rug for the evening. It's a perfect date idea or a great way to spend an evening with mates. MOONLIGHT CINEMA, CENTENNIAL PARK Cinephiles, picnic-lovers and everyone in between, rejoice — Moonlight Cinema is back for another round. Kicking off on the first day of summer (how fitting) in Sydney's Centennial Park, this year's setup boasts all the regular features that make this one of the country's most popular summer events. Big screen shimmering beneath the stars? Check. Food trucks serving the ultimate movie munchies? Check. Letting super-organised patrons BYO their own snacks? Check. A huge lineup of new releases and cult classics? You betcha. Expect all the big summer releases, like sci-fi thriller Passengers, the much-anticipated La La Land with Emma Stone and Ryan Gosling, and Lion, based on the true story of Saroo Brierley who found his birth mother in India via Google Earth after 25 years of separation. Naturally, they'll also be playing Fantastic Beasts and Where to Find Them (which was released today) as well as the yet-to-be-released Star Wars: Rogue One and game-turned-film Assassins Creed. As always, they'll also throw in a few cult favourites — this year it's Grease and Back to the Future — and some Doggie Nights, which will kick off with The Secret Life of Pets. When? December 1, 2016 – April 2, 2017. SYDNEY HILLS OUTDOOR CINEMA, CASTLE HILL Running for a month from January 12 to February 12 at the Castle Hill Showground, this al fresco event promises summertime cinema at its best. The 20-strong film program — which will show on Thursday, Friday, Saturday and Sunday nights — will cover both new releases and classics, across all kinds of genres. The season will kick off with the Michael Keaton-starring The Founder followed by a screening of Fantastic Beasts and Where to Find Them the next night, and finish up with WWII film Allied, which stars Brad Pitt and Marion Cotillard. But, really, the big screen stuff is just a tiny part of what this pop-up event has in store. Most importantly, Bilpin Cider is on drinks duty, with their fully licensed Garden Bar set to serve an assortment of summer-inspired cocktails, local wine, French bubbly, and the label's own collection of ciders. Meanwhile, a pop-up by local Dural café Wolfe & Co. will be taking care of those movie snacks, stepping beyond your usual popcorn selection to offer the likes of prawn cocktail rolls and beef brisket burgers. There's even a range of cheese and antipasto boards, for anyone wanting to really ace that date night situation. When? January 12 – February 12, 2017. ST GEORGE OPENAIR CINEMA, MRS MACQUARIES POINT The St George Openair Cinema is one of Sydney's favourite (and most dramatically panoramic) outdoor movie events. This year's a 39-night season, running between January 7 and February 17, and featuring 20 premieres and preview screenings and a selection of 2017 Oscar contenders. After kicking off with Lion, the cinema will screen Jackie, Manchester by the Sea, Loving, Gold, Hidden Figures and the long-awaited sequel T2 Trainspotting. This summer's anticipated new releases are on the bill too, including La La Land, Why Him?, A United Kingdom and Passengers, as well as 2016 highlights like Nocturnal Animals, Arrival, The Founder, Allied, Fantastic Beasts and Where to Find Them and Rogue One: A Star Wars Story. Plus, on Australia Day, you can catch a preview of David Stratton's Stories of Australian Cinema. More than 1500 patrons per evening are expected to flock to Mrs Macquaries Point adjacent to Royal Botanic Gardens, so get your tickets locked down ASAP. When? January 7 – February 17, 2017. BEN & JERRY'S OPENAIR CINEMA, UNIVERSITY OF SYDNEY Last year, Sydney's inner west got in on the openair cinema action, with Ben & Jerry's Openair Cinema opening their very first inner west cinema, adding another location to their free ice cream-loving lineup of Bondi, Brisbane, Gold Coast, Melbourne, Canberra, Adelaide and Perth. And they're back for 2016. Setting up on the lawns of Cadigal Green at the University of Sydney, Ben & Jerry's Openair Cinema shows new releases and cult classics including Hollywood blockbusters Inferno, Doctor Strange, Hacksaw Ridge, The Accountant and Arrival, comedies Bad Santa 2 and War on Everyone, Oscar contenders The Light Between Oceans and Nocturnal Animals, and controversial Cannes feature The Neon Demon. The team are keeping their tried and true formula intact — live music and free ice cream nights. Local artists will hit the stage before the film for cruisy sets, including Nic Cassey, The Runaway Horses and Naomi Sequeira. There'll also be a fully-licensed bar and gourmet food stands. You can also hire deckchairs, beanbags and blankets, or go all in for a VIP Star Lounge ticket with lounger, a blanket, seat side service and a glass of wine. When? November 25 – December 12, 2016. SUNSET CINEMA, NORTH SYDNEY Returning to North Sydney Oval, Sunset Cinema kicks off on Thursday, January 19, before running Wednesdays through Saturdays until March 18. The program skews towards more recent films including Captain Fantastic, The Magnificent Seven, Bridget Jones's Baby and The Girl on the Train, although they have squeezed one retro title in there: Dirty Dancing. They've also put together a top-notch food and beverage offering, in order to keep your stomach from grumbling during the film. They'll set up a snack bar and the site will have a fully licensed bar, serving 4 Pines craft beers and MadFish wines. When? January 19 – March 18, 2017. [caption id="attachment_603915" align="alignnone" width="1280"] Huw Lambert/Luchetti Krelle.[/caption] SKYLINE DRIVE-IN CINEMA, BLACKTOWN Dress in your best '60s get-up and step back in time at one of the only drive-ins left in Sydney. With a recently refurbished Happy Days-esque diner (designed by Luchetti Krelle) offering classic snacks like hot chips, ice creams and frozen cokes, and a pub down the road, you better not do anything more than hold hands with your sweetheart otherwise you'll ruin the schmaltz of the experience. There are two opposing screens which show double features nightly. When? All year-round.
In our own ways, we all fill our homes with interesting items. That's what galleries and museums obviously do, too. Imagine what must sit in their collections — the things they can't always display, and often don't, but are worth holding onto for an array of reasons. Actually, hit up Sydney's Powerhouse Museum until Sunday, February 4, 2024 and you'll no longer simply have to wonder. The Ultimo venue's latest huge exhibition is 1001 Remarkable Objects. That title is indeed descriptive, with the site's curators, led by curatorium chair Leo Schofield AM, diving into its vast store of pieces. Showcasing 1001 items might sound hefty, but there's a whopping 500,000 in the full collection, making those selections tricky work. Free to attend, this exhibition spans a wide variety of objects — celebrity-worn outfits, mousetrap-making machines, ceramic peacock and more. Four highlights were all once donned by someone, well-known names and samurais alike. Kylie Minogue's Sydney 2000 Olympics 'showgirl' costume is on display, as is Nicole Kidman's 'pink diamonds' Moulin Rouge! dress and, still on Baz Luhrmann, the 'fruity mambo' costumes from Strictly Ballroom the Musical. Or, you can peer at an Edo-period samurai warrior's armour. Featuring pieces that've never been shown before, and filling 25 rooms, Schofield's selections also cover the only surviving fragment of the Lockheed Altair aircraft Lady Southern Cross that Sir Charles Kingsford Smith flew in 1935 on his final flight, that 1.5-metre-tall peacock from 1870s, a Detroit Electric car made in 1917 and part of the original transatlantic cable from 1858. And, there's more than 100 pieces of jewellery, including mourning pieces crafted from human hair — plus a focus on glass, as gleaming through French and Venetian examples from the 1800 and 1900s, plus Australian and international glass artworks. Images: Zan Wimberley.
If you've ever wondered how Nicole Kidman would handle a PR scandal, Optics has the answer. Actors crossing boundaries, sports stars behaving badly, wellness entrepreneurs with little regard for their employees' wellbeing: the ABC's new satirical comedy is filled with crises across its six-episode first season, and they all require a woman sporting one of Australia's most-famous names to help smooth things over. Of course, the Nicole Kidman, star of Babygirl, Expats, The Perfect Couple, A Family Affair, Spellbound and Special Ops: Lioness in the past year alone — and plenty more since her BMX Bandits and Bush Christmas days in the early 80s — isn't at the heart of the series. Rather, Optics co-creator, co-writer and co-lead Jenna Owen plays another Nicole Kidman. Alongside Vic Zerbst's Greta Goldman, the show's Nic has big dreams and ambition to burn; however, the Gen Z duo aren't being given their shot at PR firm Fritz & Randell when Optics begins. By the time that the series' first episode is over, though, the office's youngest employees are running the place — after a death in the business, plus oblivious veteran Ian Randell (The Chaser's Charles Firth), son of one of the company's founders, being passed over for fresh faces. With his leadership choice, owner Bobby Bahl (Claude Jabbour, Last King of the Cross) is responsible for a bit of spin himself, but Nicole and Greta are determined to make their mark in the gig. That's the Optics setup, as Fritz & Randell's two new head honchos also navigate airlines chaos, a major telco outage and a publicity stunt gone wrong. Friends for over a decade, and creative partners as Freudian Nip, Owen and Zerbst's shared resume boasts content for Comedy Central and The Feed, collaborating with Firth on The Chaser's War on 2020, popping up as Asgardians in Thor: Love and Thunder, and penning and leading 2024 festive flick Nugget Is Dead: A Christmas Story — alongside Owen's acting credits in Puberty Blues, Squinters, Eden, Joe vs Carole, Wellmania, Queen of Oz and Mother and Son, and Zerbst's voice work on 100% Wolf: The Book of Hath. A show like Optics was always the dream, they tell Concrete Playground. Various stops along their path helped inspire the series, which Firth is also behind, including the trio's intergenerational banter when parodying a year no one wants to remember, plus taking cues for Nicole and Greta from characters from Owen and Zerbst's time at SBS. "They're very much inspired by characters we had been working on at The Feed at SBS," explains Zerbst. "They were more government kind of girls who try to rebrand strategies around different crises — how to rebrand a company after there's been the destruction of a sacred site or how to rebrand Australia as a nation after there's bad publicity. So we always had interests in characters who are commentating on the media circuit and the news stories, and finding creative ways to resell that back to the audience." And Nicole Kidman? "In terms of the names of the characters, I mean there was just a moment, I think it was Jen being like 'I want my character to be called Nicole Kidman' — and we laughed and laughed. And we're like 'we'll change it when it's no longer funny'. And it never stopped being funny, so we were like 'it stays, it absolutely stays'. Now it's here and it's iconic," Zerbst continues. "It stays. I think it's just the optics of being named Nicole Kidman when you're working in something media-facing. And also being someone that's desperately trying — we just kept laughing, we were like 'imagine being desperately trying to make a name for yourself, but your name is already a name of itself'. And we just thought that was a really hilarious foil to this girl that is so desperate, clearly, for attention and status," notes Owen. "So that is the story of that. It's just funny. And I would love to be friends with the real Nicole Kidman." "We're peppering it in for a Nicole Kidman cameo one day. We just need to get her to watch it and go 'that's funny'," says Zerbst. "Get her on board? Absolutely," adds Owen. The IRL Kidman mightn't make an appearance in Optics so far, but the guest cast is stacked: Grey's Anatomy's Kate Walsh ("all of her choices were just total improvisation — we learned so much from her in that capacity," advises Owen) and Furiosa: A Mad Max Saga's Josh Helman ("literally Charles Firth went to see Death of a Salesman and saw him play the son, and he was like 'this is the most-amazing actor'," Zerbst notes) for starters, plus also everyone from Nakkiah Lui (Preppers) and Nash Edgerton (Wolf Like Me) to Rhys Muldoon (Bay of Fires) and Craig Reucassel as well. The scandals faced by Owen, Zerbst, Firth and their impressive list of co-stars — Belinda Giblin (Home and Away) also plays the firm's Executive Assistant and Bali Padda (Over and Out) is Ian's loyal offsider — in Optics should all sound familiar. If they feel like they've been ripped from recent headlines, that's down to the cyclical nature of many of the crises covered, whether footballers are making regrettable decisions at the end of the season, the secrets of Hollywood stars are being exposed or big-name companies relied upon by many are stuffing up. It's also a testament to the show's spot-on satire and savvy choices. Optics is smart and astute — and very funny — about the PR strategies deployed as much as the scenarios its skewering, the publicity-literate nature of today's audiences, and changing workplace dynamics and intergenerational conflict, too. We also chatted with Owen and Zerbst about all of the above. On How Much Time Zerbst and Owen Have Spent Digging Into IRL PR Crises Vic: "It's been mostly when we were writing the show. We've been writing the show over a three-year period, and so we're always kind of across all the little scandals that rear their heads. What we've realised is a lot of patterns emerge in the types of scandals that come up. So we ended up writing an episode that was very much inspired by the Qantas Chairman's Lounge, and we wrote an episode about that, and it just so happened that there was all this news about the Qantas Chairman's Lounge after the episodes were already written. So there's certain things, certain bastions of power, that always have news filtering around them. So we realised that those were the best kind of scandals to dig into." Jenna: "It's truly amazing because, I would hope that people, on top of people loving it, they also go 'wow, geniuses, incredible, never been done before' — because it truly has been lucky, in the sense that this show was written three years ago or has been in the pipeline for a long time. And the resurgence of how many scandals that we were writing three years ago and the way in which they reemerged is actually so comical to us, because it feels like the best publicity for the show. But everything, everything in the show, has reared its head again — if it's not the same scandal re-emerging because someone's jumped on a PR circuit and is doing podcasts, like what's happening with Armie Hammer right now. He's coming out and telling his side, which is making all kinds of new content, which is hilarious." Vic: "Or even the Matilda Djerf scandal, with Djerf Avenue, that was very much of interest to us. The idea of the female CEO or female girlboss going down — there's just so many peaks and troughs of personal identity and branding. Even going back in time, and watching the Martha Stewart documentary and seeing anytime anyone has power, how there is a rise and fall, and scandals ensue when you're dealing with big money, big corporations and big personal branding." On the Timeliness of Some of Optics' Episodes Being Purely Coincidental — Such as Its AFL Scandal Jenna: "Absolutely. The amount of people that sent me, just because they knew it was of interest — we have a few friends that have been in and around the AFL machine — the amount of people that sent me the apology videos that footballers had done, that was just actually insane how much it mimicked what we had written. And I think it makes sense, because did do our research, we did speak to people who are on our side of the business in the show — as in people from crisis management — and we did speak to people who have been involved in the institutions that we're critiquing. So it makes sense, but I think we just never really understood just how cyclical this thing was going to be, and just how much it will re-emerge and re-form. And it's exhausting. I mean literally what's happening with Justin Baldoni and Blake Lively right now is incredible. If you said that we were going to have another metric of the Amber Heard and Johnny Depp situation in its new and evolved form …" Vic: "And even the conversation being tilted towards the idea of public relations or crisis management people, hiring those people. Public relations crisis management workers, what they do, that's become a conversation. It's been really insane timing for the show." On Writing the Show in Highly PR-Literate Times, for an Audience Familiar Not Just with the Type of Crises Featured But Also the Spin Used Jenna: "What I think we fought hard for in this show was arguing, in our rewrites and in our discussions with network, we really did say 'listen, this is how smart audiences are now'. And I think that really helped us. I think that it's a show that doesn't over-explain things, that moves very quickly. Our characters speak very quickly. We implore the audience to just absolutely, we drop them into the world, we don't give them any real setup and exposition. I, personally, love the literacy of the audience. I think Vic and I, in our whole careers, have always assumed that the audience has a pretty high literacy of how media works and deceives you. We have always operated like and written like that. I think with this show, what is amazing is that the This Ends with Us conversation is even a new level, where the entire conversation is almost about how these parties outside of the individuals are operating and manufacturing a story. That's a level above the Amber Heard–Johnny Depp stuff, where that was more of the deep dive of what was going on. This is now fully in the public domain, and upfront in the story. But yeah, we loved that. Because nobody, as a writer and as a performer, you don't want to over-explain things. You don't want to have to hold the audience by the hand. And I don't think that we've done that for one second in this show, and that makes it really enjoyable to write, really." Vic: "It's like all the information is background detail — if you know it already, that's even better for us, because you don't have to explain what that is. And we can just go into what is essentially an intergenerational office comedy, where it's about old school versus new school. And the scandal of the weeks are so interesting but so fun to satirise, because they're based on these true things that the more people know about them, I think the more they'll get out of the show — because they'll see and notice certain things, and then we can twist and make turns. We can invent the WANKA play, if you already have an understanding of what DARVO is. So I think it is helpful, and we love and embrace the media literacy of the audience 100 percent." On Optics' Intergenerational Conflict Springing From Zerbst and Owen's Experience Working with Charles Firth Vic: "It was exactly that. We were working on a webseries with Charles Firth, The War on 2020, and even while we were working on that show we would just have so many funny moments where we would have different media points of reference and different ways of …" Jenna: "Generational touchpoints. And honestly, every day was a delight, in that sort of dialogue that you do see between Greta and Nicole and Ian in the show. That is our entire relationship with Charles. He often will make a reference to something, just like how you see in the show. In the pilot where it's like 'oh, I understand now, it's exactly like the Children Overboard scandal or whatever' — and Vic and I'll go 'huh?'. Of course we understand what he's saying or we know what he's talking about, but we have a different generational touchpoint to him. And so that kind of mutual understanding, which in the show, they mutually understand what's going on but they have totally different touchpoints of how they understand it and frameworks. And I think that's such an exciting thing to have in a show, because it just makes for intergenerational viewing, and that's what we what we wanted with this show. I think when we were trying to get the show up, it really did help that it was the three of us in the pitches, because everyone just went 'oh yeah, I see how this is going to work. I see how this will work'." On Subverting the Usual Workplace Comedy Dynamic with the Younger, More Switched-On Employees Taking Charge Instead of an Oblivious Veteran Vic: "I love that — I love that that's an amazing insight into that flip. I don't even think it was even that conscious for us. I think it came from us navigating this world of this industry, where suddenly we had people listening to us and we felt empowered enough in our voice to talk to people — especially older people, especially older men, in meetings, in pitch meetings — where we felt that we had a lot to say, and we understood social media better than they did. And then it just became that natural dynamic. I think that there is a lot of that shift because a lot of new Gen Z and Millennial workers have a comparative advantage in understanding a lot of the new technologies. There is this shift now in the workplace where young people have certain expertise that is really needed. And it's also something I see watching my dad, who's unable to do any technology, and seeing how he struggles in his workplace. He's a teacher, but he just becomes so disempowered within that. And there's really funny moments of that, but there definitely has been this age switch in the workplace that I think we've wanted to represent." Jenna: "Exactly. There's this line that I never, never even realised was funny, but now I do realise it's funny, in like the last episode, that Vic says 'we deserve this. We've been working at this firm for eight months'. And I'm like 'that's such a dog whistle for the Gen X, for the Boomers to laugh at' — being like 'you entitled millennials'. But the point is, yes, we can understand how dismissive that is of the experience that someone has that they've been working in a job for 20 years. But the point is that the world is changing so fast, and it's extremely jarring for everybody. Vic and I are still trying to catch up — are we on TikTok? Are we on RedNote? We're still caught in that washing machine as well. So I think the point is, yeah, we have been working at the firm for eight months, but the knowledge that we have eclipses those people who have been working at the firm for 25 years because of the way the world shifts and changes. And the companies that make the money or the stories that get picked up are the ones that are adapted to this new media cycle and structure. So it's one of those things that I think people will watch the show and root for people in different ways, and have different opinions on that. I mean a lot of Millennials, I think, will feel like 'yeah, I am the one that got the video for our company's brand up to two-million views and that increased sales by whatever percentage' — but they're still going to be dismissed by their older bosses for being the TikTok girls. This is the kind of conversation that's really interesting. And I think what we always say about this show is we're two parties, Greta and Nicole, and Ian, who fundamentally will work together to make the world a worst place — that's our sort of catch cry for the show. But that's the kind of dynamic and the stuff we definitely wanted to explore." Vic: "And it's also about a fantasy. It's like 'what if you give that begrudging younger employee the ability to have that ultimate power?'. And I think the journey for us is realising 'oh, it's really fun to think, oh, I'd the boss, I'd be amazing'. Then you go 'oh, there's so much more pressure and disaster-level stress that comes with being a boss'. I'm sure a lot of older people will be like 'yeah, you want to be the boss? Well, let's show you how hard it is'. And that's our journey as well, being like 'this is really bad — this is hard'." On the Approach to Moral Ambiguity — and Ensuring That Greta and Nicole Aren't Always the White Knights Doing the Right Thing the Whole Time Vic: "We always knew that we wanted the show to be a critique of the structures, the structures of media, the structures of power, and it was about people struggling within that structure, and people who are trying to uphold the structure, and what happens to you as an individual when you are unable to both live your personal values while also succeeding within a structure. So I think that allowed us to really see that these people can be morally ambiguous, they can try to play, but there's always this internal conflict: 'I want to do the right thing, but I also know that the system will reward me for X behaviour, so you have to do X behaviour'. I think that's the kind of moral tracking we want to follow with the girls. And then you see a character who has maybe more internalised the inner workings of that structure, and then you see how they got there. And I think we always have endless, endless empathy for our characters and endless, endless critique for the structures that make people select for or against behaviours that make them feel uncomfortable with who they are as people." Jenna: "Absolutely. And also it is such a simplification to say that women enter the spaces of moral ambiguity and are the white knights or are the victims. I think that we do need to explore those nuances that exist. Greta and Nicole can both be manipulated and disempowered by the Bobby Bahls that be, but also be acting in a way that is unethical, that doesn't have that moral centre. And just because we're women doesn't necessarily mean that we are going to tap into that moral centre. It maybe means that we have more of a moral centre coming in, but that's how powerful these other external forces are. And this idea, ultimately they do want to succeed as well, and what does it mean to succeed under a system like this? I think Vic and I are both, just from a character point of view, from an acting point of view, there are so many women in this world that inhabit these spaces in a way that is super interesting and morally bankrupt. In PR crisis management, the people that do bury the story about the sexual assault or whatever, a lot of those people are women. A lot of the people in the Justin Baldoni case with Blake Lively, a lot of those people are women. And then if you want to go to the other extreme of that, you can look at someone like Ghislaine Maxwell. We do live in a society where women are trying to succeed under this system at the cost of their own moral integrity. I think it's really exciting to portray that in the space and time that we are now, where we've had so many conversations over here about how women are disempowered. But I think it's also important that we have conversations about how women enact that power, especially white women in this world as well, enact that power as well under these structures. We're excited by that and that's the best thing to act. What could be better?" On Whether Making a Series Like Optics Was Always the Dream When Zerbst and Owen First Met and Started Working Together Vic: "Yeah." Jenna: "Yeah." Vic: "Always. It was always the dream. It was always having a TV show where you come up with episodes, ideas, writing, acting. That was always it — I don't think there was anything else. And especially for the ABC, it means a lot to us to be on an Australian broadcaster — yeah, it means a lot." Jenna: "Absolutely. And it is a dream, and so many people within the industry and outside of the industry are truly amazed that it happened in there, and we have to say so are we. Because we aren't tried-and-true talent. We're not at that stage of our career where we have this guaranteed. We're not household names. And so it is a risk and it is exciting. And I think it's exactly — selfishly, I'm like 'it's exactly what the ABC should be doing'. But it is. It's exactly what the ABC should be doing, not just for us, but for so many more shows and talent and upcoming talent — which is also very funny to say when you've been working for ten years, but it's still true. This was always our dream — always, always our dream. And I do have to say, the level of autonomy that we've been given in this show from Easy Tiger, the production company that we're working with, from The Chaser with them as well, and with ABC, it's so, so rare — to yes, be an executive producer on this show at our age, with our experience, and to be in it and to be writing on it. That's an unheard of level of trust. I do think that you see it in the show. You do see that we've had that level of trust, because it does feel different and it does feel new." Vic: "It does feel very unique." Jenna: "And we've learned so much from this season, and we're just absolutely so excited to implement what we have learnt as well as first-timers into the next season — praise be. It's exciting. For us, we can't even believe the level of autonomy we've been granted, and that was always the dream, because Vic and I, that's how we started. We always had autonomy. We were operating on this small scale. We always wrote our own things. We were given complete freedom. And that's how we got a following, or that's how we had some success. So to be able to continue that on greater scale is what everyone in the world wants." Vic: "Absolutely." Optics streams via ABC iView.
Though the availability of good Mexican food in Sydney has increased over the years, the Latin cuisine still seems to hold the reputation that it's all about cheap tacos and a salty margarita or Corona topped with a lime. Most of us love a cheap night out on the tacos and margs, but it would be remiss not to try out the many more eats Mexican cuisine has to offer. Redefining expectations, Coogee's ROCA Mexican Cantina is the brain-child of three Mexican natives, including owner Gerardo Macip (responsible for Calaveras Mexican Cantina & Tequila Bar in Newtown) along with chefs Jonatan Romero and Daniel Gomez — a team passionate about serving authentic dishes showcasing traditional Mexican flavours and ingredients. Perhaps you've stuck with tacos for so long because you're not too sure what else you should be ordering. Well lucky for you, the trio behind this latest Coogee restaurant has curated a selection of dishes from their menu and paired them with cocktails to help expand your knowledge on Mexi-eats and take the guess work out of ordering. CEVICHE DE PESCADO AND A CLAMATO To get things rolling, start with the ceviche de pescado. This zesty cured fish is served on crispy corn tortillas, along with a cheeky side of chipotle salsa. The vibrant acidity of lime 'cooks' the fish, all while packing the dish with mouthwatering flavour. To top it all off, ROCA's homemade pico de gallo with Tajin chilli seasoning adds that final kick to really get your tastebuds singing. Wash this one down with the Clamato: a classic cocktail with fresh lime juice, tabasco, seasoning and Clamato juice, floated with a splash of Mexican beer. QUESO FUNDIDO AND A DEATH IN TIJUANA Up next is the cantina's queso fundido, aka the stuff dreams are made of. Baked and served in a traditional Mexican-style clay pot, this cheesy dip of dreams consists of a simmering bed of pinto beans covered with gooey mozzarella, topped with smokey chorizo and served alongside flour tortillas for good measure. The decadent starter definitely gives the classic fondue a serious run for its money. Help cut through all that cheese with the smokey mezcal-based Death in Tijuana. Mixing together tangy lime juice and bittersweet pink grapefruit with a dash of pomegranate, this is the drink to throw back amidst a cheese-induced coma. ENCHILADAS RANCHERAS ROJAS AND A PASSION SESIÓN A night at ROCA wouldn't be complete without a plate of their enchiladas rancheras rojas. This spicy number serves up corn tortillas filled with pulled marinated chicken, drenched in hot red ranchera salsa and finished with crumbled feta, coriander and Spanish onions. Pair this one with the killer Passion Sesión made up of Sesión Tequila Blanco, lime juice and passionfruit shaken together and served in a chilli-rimmed glass. A pairing for those who don't mind a whole lot of spice. FAJITA ASADAS AND A MEXICAN MELON SOUR Be warned: this one's gonna get messy. ROCA's fajitas asadas features spicy chipotle-marinated beef strips, sautéed Spanish onion and capsicum atop a bed of rice and finished with zesty guacamole. Meant to be put together by you, scoop this saucy goodness up with one of the provided flour tortillas, but first make sure you have some serviettes nearby. Soothe any burning from the spice with a Mexican Melon Sour — melon liquor mixed with lime juice and poured over a frozen lemon margarita. And yes, it comes served in a chilli salt-rimmed tiki glass. FLAUTAS DE POLLO AND AN EL DIABLO Coming to you all the way from Sinaloa in northern Mexico, these crispy hand-rolled taquitos, typically covered with cheese, cream and guacamole, are famous across the Central American country. ROCA delivers their own take on the Mexican favourite, filled with spicy pulled Guajillo chicken and topped with salsa ranchera, crumbled feta and coriander. Feeling brave? Have your flautas with the 'El Diablo', a cocktail created using Mexico's hottest chilli. Not for the faint hearted, house-infused habanero tequila is mixed with agave nectar and finished with pineapple juice for a sweet tipple with a definite kick. Dig into these iconic Mexican dishes and wash them down with some tequila and mezcal-based cocktails at ROCA Mexican Cantina & Tequila Bar.
