Spooky season has returned, a time of ghosts and ghouls, flirting with lolly-based diabetes and getting into the spirit by bingeing all things horror. Generally the impulse is to line up a movie marathon of monsters and murderers, but why not mix a little interactivity into your goosebump-inducing genre consumption this year? With horror being such a beloved creative territory there's a boundless wealth of frightening indie games around, but to help you dip your toe into the terrifying here's a list of six (aka 1/111th of the spookiest number possible) to try… if you dare. [embed]https://www.youtube.com/watch?v=TF3ZIJccpj8[/embed] MUNDAUN Folk horror is not a genre that shows up much in the gaming world which seems to have an overwhelming preference for sci-fi scares and general supernatural gore. Swiss developers Hidden Fields decided to buck trends with Mundaun, a first-person exploration game rendered in hand-pencilled fashion. You play as Curdin, a man visiting a small village in the alpine foothills to pay his post-funeral respects to his grandfather after the old man perished in a barn fire. Only problem is, grandpa's grave is empty. As you delve into the mystery of what happened to gramps, you uncover a historical deal made under the duress of war that has cursed the village, and it's up to you to do something about it by poking around the town of Mundaun and its surrounds, speaking with its inhabitants, and indulging in some light puzzle solving. There's a pinch of survival horror mixed in too, so you'll need to manage limited ammo and weapons to deal with a variety of enemies, from animated straw men to undead soldiers. The game's striking aesthetic lends an uneasy air that feeds excellently into the surreal, foreboding setting, steeped in a confluence of Christianity and Paganism. There's nothing else quite like it, so make sure you play with the lights off for the best experience. Spookiness Rating: 7/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=CBuh9afznMg[/embed] YUPPIE PSYCHO If you've ever drawn a salary as a corporate wage slave, Yuppie Psycho is going to speak to you on another level. This survival horror game, developed by French/Spanish team Baroque Decay, puts you in the shoes of Brian Pasternack, a nervous young man on his first day at Sintracorp. His job? Kill the witch that has cursed the company for years. You'll spend your time roaming the 10 floors of the company's headquarters, rendered in gloriously retro pixel art. Almost from the get-go, it's clear that something is deeply, deeply wrong. Most of your coworkers are slack jawed and dead eyed, responding with gibberish when you try to talk to them. Someone keeps painting messages on the wall in blood. There's a cemetery in the woods on the 8th floor, and a spider monster in the archives. Alongside all of this standard horror, the game deftly mixes in the anxiety and imposter syndrome that accompanies starting a new job, as well as the existential despair that comes from mandatory motivational meetings, dealing with the spectrum of irritating co-workers and navigating the forced, two-faced jollity of a professional environment. With multiple endings based on choices you make, and even two vastly different paths to get to the end, it's a game you can pick up and play again and again. Spookiness Rating: 6/10 Available on: PC/Mac, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=Fe4gVfZ1Q2I[/embed] WORLD OF HORROR 'A little bit of HP Lovecraft, a little bit of Junji Ito' is a great recipe for the vibe of a horror game. WORLD OF HORROR by Polish solo dev panstasz takes place at the cusp of the apocalypse. The Old Gods are awakening, panic and madness are spreading, and monsters are stalking the streets of Shiokawa, the small Japanese town where the action takes place. The primary thrust of the game sees you investigating a series of strange occurrences. It's a roguelike, so the changing raft of cases means no two runs are exactly the same which gives the game great replayability. The turn-based combat leans towards the challenging side (hey, no one said the end of the world would be easy), but an RPG-esque upgrade system will help ease the stress of late-stage runs — provided you make smart choices. Plus it's primarily an adventure game, so if you fear fast-twitch gameplay there's nothing to worry about here... beyond everything else happening. The Junji Ito inspiration comes through heavily in the lineup of monsters, mirroring the manga artist's off-putting creations in throwback 1-bit graphics that look like they came straight off the page. Fans of Japanese horror will definitely want to give this one a whirl. Spookiness Rating: 9/10 Available on: PC/Mac, Console release coming October 26th [embed]https://www.youtube.com/watch?v=naCeKfdPbTs[/embed] CRITTERS FOR SALE Critters For Sale is weird, man. No other way to put it. Created by solo developer Sonoshee, this blend of point-and-click adventure and visual novel is a heady, paranoid time, as compelling as it is mildly repulsive. Play through five nonlinear short stories linked by broad themes of good vs evil, time travel and black magic, with woozy, grainy 1-bit graphics that help to heighten the general feelings of discomfort and discombobulation. Some feature multiple endings based on choices you make, which encourages multiple playthroughs supported by quality-of-life features that skip you to key story points so you don't have to start at the beginning every time. Others hide secrets that will only make sense once you've explored all the stories. Each tale comes from the perspective of a different character, so you're never quite able to find a stable narrative footing as you navigate between them, boosting your sense of unease. It's a highly-advanced horror game that bucks the modern trend of blood and brutality for an ineffable surrealism, leaving an impression on you long after you've completed its twisted paths. The faint-of-heart need not apply. Spookiness Rating: 9/10 Available on: PC [embed]https://www.youtube.com/watch?v=BrRWb7tFxR8[/embed] DREDGE Oceans are terrifying. Out where the water is an almost-black blue, where anything could be lurking below... that's nightmare territory. This is the niche in which Dredge, by New Zealand's Black Salt Games, floats. You're a nameless fisherman, freshly arrived to the island town of Greater Marrow after a shipwreck left you with no memories. The mayor gives you a boat and a job as the community angler and off you go to complete missions for a variety of characters, some with more sinister motives than others. The crux of the game is its day/night cycle. When the sun is up, you can roam the waves with relative impunity. Once the dark arrives your panic metre starts to fill, which can lead to reality-altering hallucinations and death if you push your luck. That's not to mention the sea monsters that inhabit the archipelagos you'll visit, which will have you navigating coastlines in frenzied fear, searching for escape. Mix all the above with a raft of compelling gameplay mechanics, such as a variety of fishing mini-games, the Tetris-like cargo management system and 128 different types of fish to catch and catalogue, and you've got an experience will truly hook you in. Spookiness Raiting: 6/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch [embed]https://www.youtube.com/watch?v=AI9zBBTyX-E[/embed] LITTLE NIGHTMARES II The decision to include a sequel over the original game took a lot of soul searching. But ultimately, since the focus here is spooks and scares, Little Nightmares II takes the cake (it's also technically a prequel, but let's not get bogged down in details here). Developed by Swedish team Tarsier Studios, Little Nightmares II is a 2.5D puzzle platformer that is packed with peril. You're Mono, a young boy in a paper bag mask who, along with a mysterious young girl as a sidekick, must make your way through the decrepit, dank Pale City to uncover what lies inside the Signal Tower at its heart. Along the way you'll have a lot to deal with, such as the television-addicted inhabitants who fly into an incoherent rage if you sever their connection to the cathode ray tube. The strength of the game lies in its set pieces, each of which is a polished jewel of terror. Talk to anyone who has played Little Nightmares II previously and they can wax lyrical about the School, the Hospital, or the end sequence, which features a twist that will slap a gasp out of you. The character design is also outstanding, with the adult inhabitants of the world represented as twisted grotesqueries, exactly what you'd expect from the point of view of a child. With a gameplay loop centred on dying, learning and dying again, and an atmosphere that will keep your anxiety levels at a roiling boil, Little Nightmares II is a key addition to the game library of any horror fan. Spookiness Rating: 8/10 Available on: PC, Playstation 4/5, Xbox One/S/X, Nintendo Switch
Sydneysiders are constantly searching for things to do that include more than just sitting around and drinking — we've seen that in the popularity of Newtown's Holey Moley and the growing amount of kidult activities available around town. And now, from the creators of the aforementioned mini golf bar, comes a new funhouse-slash-cocktail joint: Archie Brothers Electric Circus. The place is crammed with activities. The Alexandria warehouse features everything your inner child could possibly desire. Old-school dodgem cars? Check. Bowling lanes? Check. Arcade games? Check. A 3D interactive theatre ride? We don't even know what that is, but check. The space is anchored around a tricked-out cocktail bar with a 'carnival' aesthetic — you might find yourself sitting in a repurposed saucer seat or on an old carousel horse. That's where punters will find a selection of boozy beverages including an array of extravagant spiked shakes. The diner will also be serving food like burgers, hot dogs and fries. It's all very much a novelty, but with the promise of arcade games and cocktails, is sure to pique the interest of punters. Games are priced pretty affordably — a game of bowling is $10, a go on the dodgem cars is $4 and you can top-up a card to play arcade games for $20, $50 or $70. Images: Letícia Almeida.
The Boathouse Palm Beach may have shuttered its windows, but a new Italian-inspired venue has popped up for the summer in its homewares store: CASA by The Boathouse. With classic brunch fare, best enjoyed in a rustic setting within spitting distance of the water, CASA joins Boathouse Group's other beachfront venues, including Balmoral, Shelly Beach and Manly Pavilion. Unlike its predecessor, CASA is also offering up an all-day Italian-inspired menu and drinks — with cocktails like Aperol Spritz, Montenegroni (classic negroni with Amaro Montenegro) and Boathouse Margarita (with pineapple and jalapeño-infused olmeca altos tequila) as well as a beer and wine list. Choose between classic Italian antipasto, including arancini al formaggio and calamari fritti with chilli and aioli, pizzas and side dishes. If you can't snag a seat, the menu is also available to takeaway so you can enjoy some Italian eats at home. If you're in Palm Beach to catch some morning waves, you can enjoy breakfast and Single O coffee out the back daily from 7am until 3pm. Breakfast options include fruit salad, classic avo on toast and bircher muesli, and Italian panini.
Another Paul Schrader film, another lonely man thrust under a magnifying glass as he wrestles with the world, his place in it and his sense of morality. The acclaimed filmmaker has filled the screen with such characters and stories for more than half a century — intense tales of men who would not take it anymore — as evidenced in his screenplays for Martin Scorsese's brilliant Taxi Driver and Bringing Out the Dead, and also in his own directorial efforts such as Light Sleeper and First Reformed. You can't accuse Schrader of always making the same movie, however, as much as his work repeatedly bets on the same ideas. Instead, his films feel like cards from the same deck. Each time he deals one out, it becomes part of its own hand, as gambling drama The Card Counter demonstrates with potency, smarts and a gripping search for salvation. The film's title refers to William 'Tell' Tillich (Oscar Isaac, Dune), who didn't ever plan to spend his days in casinos and his nights in motels. But during an eight-year stint in military prison, he taught himself a new skill that he's been capitalising upon after his release. His gambit: winning modest scores from small-scale casinos. If he doesn't take the house, the house won't discipline his card-counting prowess. The money keeps him moving, but each gambling den could be the same for all that Tell cares. His motel-room routine, which involves removing all artwork from the walls, making the bed with his own linen, and covering every other surface and item with carefully tied cloth — making each space as identical as it can be, and resemble incarceration — lingers between fierce self-discipline and a stifled cry for help. Assistance arrives in two forms, not that Tell is looking or particularly receptive to having other people in his life. The regimented status quo he's carved out so meticulously is first punctured by fellow gambler-turned-agent La Linda (Tiffany Haddish, Like a Boss), who backs other punters and believes they should team up to profit big on the poker circuit. That'd bring Tell more visibility than he'd like, but it'd also increase his pay days, which would come in handy for his second new acquaintance. In Atlantic City, he meets the college-aged Cirk (Tye Sheridan, Voyagers), who has proposes a quest for revenge. Tell shares a grim past with Cirk's dad, and the twentysomething wants to punish the retired major-turned-security expert (William Dafoe, The Lighthouse) that he holds responsible — which Tell is eager to discourage. Isaac doesn't ask his reflection if it's looking in his direction. And, given that The Card Counter joins a filmography overflowing with exceptional performances — including Scenes From a Marriage already this year — it won't define his career as Taxi Driver did for a young Robert De Niro. Still, it's the highest compliment to mention the two in the same breath. At every moment, this blistering film is anchored by Isaac's phenomenal portrayal, which is quiet, slippery and weighty all at once. As conveyed with a calculating glare that's as slick as his brushed-back hair, here is a man who dons a calm facade to mask the storm brewing inside, revels in routine to avoid facing change, and anaesthetises his pain and past deeds with the repetition he's made his daily existence. Here is a man desperate to paper over his inner rot with time spent amid meaningless gloss, preferring to feel empty than to feel anything else, until he has an innocent to try to save and a clear-cut way to rally against the soulless world. In Isaac's case, here is a man surrounded by other impressive actors, too. Haddish is in career-best form, regardless of her comedy successes, and cleverly builds that confident, sharp-talking experience into La Linda's persuasive attitude. Sheridan is tasked with the most blatantly written character of the film's core trio, although that doesn't make Cirk any less riveting or pivotal. Across six decades now, Schrader has probed how America holds up, or doesn't, by using his protagonists as one-man case studies; however, due to Sheridan's single-minded, gun-ho and determined part, The Card Counter sports two examples of how the nation's decay is currently manifesting and spreading — and across two generations as well. Perhaps its plainest to see Schrader's commitment to the same themes — masculinity that's expected to brood stoically, a society that values ease over substance, a world with an ends-justify-the-means mentality, and the trauma, guilt and pursuit of redemption that all three inspire — as a filmmaker taking snapshots of the passing years. The notions he's so profoundly fascinated with are timeless, sadly, so each of his features steeps them within the US as it then exists. In The Card Counter, that also involves scrutinising American military might, the country's self-proclaimed status as the globe's leader and the horrific atrocities undertaken in its name. Indeed, the movie's most potent sequences take Tell back to his time as a guard in the Abu Ghraib prison complex following the 2003 invasion of Iraq. History has established why that's such a haunting choice, and why so much torment lingers deep in Isaac's eyes. When Schrader's now three-time cinematographer Alexander Dynan (Dog Eat Dog, First Reformed) isn't shooting those flashbacks like several layers of feverish nightmares — captured with an ultra-wide lens, warped like a carnival mirror and staged like a relentless onslaught, they're a masterclass in hellishness — The Card Counter takes ample time to peer patiently and intently. It surveys its leading man, eating up his hypnotic fastidiousness. It stalks through the faux casino glitz and lets it tarnish its own veneer, as one of the best gambling films ever made, 1974's California Split, also did. It sees not just lonely men, but sparse spaces, hollow dreams and vacuous ideals. In one short slip into a softer mode, it lets Isaac and Haddish's chemistry — and the sensuous joy of vibrant colours and lights — pose an alternative, too. Going all in on the power and passion of Schrader's lifelong cinematic obsessions and convictions, The Card Counter is another of the writer/director's aces — hands down.
Sydney's cookie titans have done it again. ButterBoy conquered Manly, Chatswood, Broadway and Brookvale with flagship stores, spread their oven-baked goodness across the city with stockist selections, dished out free mystery boxes and even pollinated Melbourne with a pop-up earlier this year. Now they're expanding their offering again for a limited time only. This time, Pitt Street is playing the lucky host, with a pop-up store in Westfield Pitt Street that's open now until Sunday, October 19. The pop-up will be slinging the usual mix of cookie flavours, sold individually or in boxes of six, alongside the more bite-sized collections of serves inside cookie tins. For refreshments, an evolution of cookies' natural pairing, cookie milk. This isn't your typical ice-cold glass of the good stuff, this is ButterBoy cookies blasted into fine crumbs, then soaked and strained into a creamy glass of milk that tastes like it came out of the oven with the cookies themselves. As well as the usual selection of flavours, the pop-up will also debut two exclusive flavours — as is tradition for ButterBoy, where every store has a signature you can't find elsewhere. This time, the exclusive flavours are Matcha & White Chocolate, perfectly paired with your matcha run for the day, and Blueberry & Lemon for those who like something a little fruitier. ButterBoy can be found on Level 2 of Westfield Pitt Street, open 9.30-7am Monday to Wednesday, 9.30am-9pm Thursday, 9.30am-7pm Friday and Saturday and 10am-7pm on Sunday. Find ButterBoy on Instagram for more information.
In his guise as Benoit Blanc in both 2019's Knives Out and 2022's Glass Onion: A Knives Out Mystery, Daniel Craig has pointed the finger at an array of well-known faces. With third film Wake Up Dead Man: A Knives Out Mystery officially on the way, that list is set to grow. The first three folks joining it: Andrew Scott (Ripley), Josh O'Connor (Challengers) and Cailee Spaeny (Civil War). If you weren't already excited about Blanc's next case, which is set to arrive on Netflix in 2025, then you should be now. The news that Wake Up Dead Man is on its way still relatively fresh, with the sleuthing saga's writer and director Rian Johnson announcing it via social media on Saturday, May 25 — and casting details have started arriving mere days later. [caption id="attachment_868527" align="alignnone" width="1920"] Courtesy of Netflix © 2022.[/caption] As reported by Variety, there's no word yet as to who Scott, O'Connor and Spaeny are playing opposite No Time to Die's Craig. But joining Wake Up Dead Man's suspect pool comes in a big year for fans of all three Down Under, with Scott's All of Us Strangers, O'Connor's La Chimera and Spaeny's Priscilla all reaching screens this year — plus the aforementioned Ripley, Challengers and Civil War, too. With the third Knives Out flick locking in a date with the small screen next year, the series continues its three-yearly pattern. Who else the filmmaker that also brought audiences Brick, The Brothers Bloom, Looper, Star Wars: Episode VIII — The Last Jedi and TV's Poker Face (which has been renewed for a second season) will get Blanc investigating hasn't been revealed, and neither has much else about the movie. "I love everything about whodunnits, but one of the things I love most is how malleable the genre is. There's a whole tonal spectrum from Carr to Christie, and getting to explore that range is one of the most exciting things about making Benoit Blanc movies," Johnson did note. [caption id="attachment_951454" align="alignnone" width="1920"] Challengers, Niko Tavernise © 2024 Metro-Goldwyn-Mayer Pictures Inc.[/caption] Exactly when in 2025 the flick will hit, and also whether it will reach cinemas before arriving on Netflix, also hasn't been announced. But, the streamer is teasing that this will be Blanc's "most dangerous case yet". So far, Johnson has plunged his detective into a familiar scenario twice, but always ensured that the end result was anything but routine. His trusty setup: bring a group of people together in a family home, mode of transport or lavish vacation setting, then watch on when one thing that always occurs in a whodunnit happens. That'd be a murder, in a formula that Agatha Christie also loved, as book-to-film adaptations Murder on the Orient Express, Death on the Nile and A Haunting in Venice have shown. The author's play The Mousetrap and recent flick See How They Run, which riffs on it, make the same point. And, so does this clearly Christie-inspired franchise. [caption id="attachment_936946" align="alignnone" width="1920"] Priscilla[/caption] The cast across Knives Out and Glass Onion has been impressive. Chris Evans (Pain Hustlers), Ana de Armas (Ghosted), Jamie Lee Curtis (Haunted Mansion), Michael Shannon (The Flash), Toni Collette (Mafia Mamma), Don Johnson (The Collective), Lakeith Stanfield (The Changeling), Christopher Plummer (Departure), Katherine Langford (Savage River) and Jaeden Martell (Mr Harrigan's Phone) all featured the first time around. In the second flick, Edward Norton (Asteroid City), Janelle Monáe (Antebellum), Kathryn Hahn (Tiny Beautiful Things), Leslie Odom Jr (The Exorcist: Believer), Jessica Henwick (The Royal Hotel), Madelyn Cline (Outer Banks), Kate Hudson (Mona Lisa and the Blood Moon) and Dave Bautista (Dune: Part Two) all co-starred. If you saw either — or any murder-mystery involving a motley crew of characters brought together in one location when someone turns up dead — then you'll know how this movie series works from there. There's a standout setting, that big group of chalk-and-cheese folks, threats aplenty and just as much suspicion. Check out the title announcement video for Wake Up Dead Man: A Knives Out Mystery below: Wake Up Dead Man: A Knives Out Mystery will release sometime in 2025 — we'll update you with an exact date when one is announced. Read our reviews of Knives Out and Glass Onion: A Knives Out Mystery. Via Variety. Top image: All of Us Strangers, photo by Chris Harris, courtesy of Searchlight Pictures. © 2023 Searchlight Pictures.
If you've been looking to keep your wardrobe choices as ethical as possible, then shopping local just got a little easier. Long-running fashion not-for-profit Ethical Clothing Australia (ECA) has launched a new online map that pinpoints all the Aussie stores featuring ECA-accredited brands on their racks. The new digital tool currently maps out over 300 accredited ethical retail destinations, allowing shoppers to easily hunt down ethically conscious fashion with just a few clicks on their smartphone or other device. In order to nab that all-important ECA accreditation, a business must be able to show that all workers involved in its manufacturing operations are being paid properly, working in safe conditions and receiving all the necessary legal entitlements. ECA conducts these audits looking deep into the whole manufacturing process, from design to dispatch. [caption id="attachment_800970" align="alignnone" width="1920"] Clothing the Gap[/caption] Some of the ethical businesses to have earned themselves a spot on the map include 53-year-old brand Cue, popular jeans label Nobody Denim and high-end designer favourite Manning Cartel. And Victoria especially looks to be flying the flag for conscious fashion, with 120 store mapped in that state alone, including The Social Studio, Vege Threads, Remuse Designs and the newly opened Clothing the Gap store. The new map comes as more and more Aussies are choosing to hunt down ethical producers when they shop. A recent ECA survey showed that a huge 70 percent of local textile, clothing, and footwear manufacturers reported their customers were asking more questions about the labour rights of their workers than ever before. On its website, the ECA also has a comprehensive directory listing all of its ethically accredited fashion businesses. To check out the ECA Digital Shopping Map, jump over to the website. Image:
Last week, the crew behind Darlinghurst's Black Bottle brought its natural wine bar vibes to Sydney's inner west with the opening of PG's. The new speakeasy takes up prime real-estate along King Street, just across from the Newtown Hotel, and it's looking like a good'un. Black Bottle co-owner Lucas Cristofle and Ben Labat (The Grounds of Alexandria) have collaborated to open the venue, which has exposed brick walls, low-lighting and pink neon signs, plus bar chow by Ricky Firth and a focus on cocktails and reasonably priced wines by the glass and bottle. Their wine list focuses on the natural and organic, with local craft beers, too. Cocktails include house specialties (all $18) such as the Lavender Fields (gin and lavender oil with an absinthe rinse), the Kaffir Lime Sour (kaffir-infused vodka with lemongrass syrup and finger lime) and the extremely boozy sounding Cabron on Fire (mezcal, a smoky scotch and agave). For eats, Firth is cooking up bar snacks like chicken wings and cheeseburger jaffles, as well as bringing over the house pâté from Black Bottle. Named for mums Pat and Gigi, the speakeasy bit comes from the library cover entrance. From the street, the space better resembles a used book store than a bar — one that houses some pretty regal-looking hard covers, we might add. "The idea behind a speakeasy came from a discussion with a fellow operator in Darlinghurst who said 'prohibition is over'," says Cristofle. "To whom we replied 'Really? Then what do you call a government which tells you where, how and when to drink? We are right in the middle of [prohibition]." Once inside, the two-level bar reveals itself and, according to Cristofle, takes on a vibe of 'house party at your mums' combined with rock 'n' roll feels. To that end, they've restored the old house back to its bare bones and set it up for big name local and international acts to take the stage. The fit-out sees a mix of seating, from aged leather Chesterfield sofas to cafe-style low tables and high bar stools, along with potted plants aplenty and classical portraits adorning the walls. The location is no lucky coincidence, either. "Newtown is the only neighbourhood that stuck together and thrived [through the lockout laws] these last few years, and we respect that," says Cristofle. "We feel the Newtown community is eager for small places and a bit more human-scaled than the multi-billion dollar hospitality giants." Open daily from 4pm until late, the upstairs bar will host live gigs two nights a week, plus one-off parties and other decadent speakeasy events. There'll also be happy hour every Wednesday through Friday from 5–7pm — with $15 carafes, $10 classic cocktails and $5 tap beers on offer — and half-price wings and tinnies on offer every Wednesday. This joint is definitely worth a gander. PG's is now open at 169 King Street, Newtown. Open daily from 4pm until late.
A Taiwanese filmmaker might've made your favourite movie, although you may not realise that. Adored the original The Wedding Banquet? A fan of Brokeback Mountain? Loved Life of Pi? Still in awe at Crouching Tiger, Hidden Dragon's action scenes? Thank Ang Lee (Gemini Man) — but he's just one of many talented directors from Taiwan. To dive into the depths of the rest of Taiwan's filmmaking prowess, Australia became home to the Taiwan Film Festival in Australia back in 2018. After starting in Sydney, it now tours to five other cities — but the Harbour City remains on the itinerary from Thursday, July 24–Saturday, September 6, 2025, complete with 2025's closing-night session of Hou Hsiao-Hsien's (The Assassin) Tony Leung (Fox Hunt)-led 1998 great Flowers of Shanghai, playing a restored 4K version, at the Sydney Opera House. Largely playing Event Cinemas George St in the New South Wales capital, this year's fest spans more than 40 sessions among its features and shorts — including 15 films scoring their Australian premieres — and puts a particular focus on showcasing female perspectives. Daughter's Daughter kicks off the program, starring Sylvia Chang (Forget You Not) and screening fresh from its berth at Sydney Film Festival. Also highlights: The Chronicles of Libidoists, about chasing desires, plus romance Unexpected Courage. From there, get ready for a range of fellow titles that, outside of occasional berths at Australia's major fests, don't often make it to our shores. Yen and Ai-Lee and the Sung Kang (Fast X)-costarring Worth the Wait both hail from filmmaker Tom Lin (The Garden of Evening Mists), Where the River Flows and Organ Child have crime thrills covered, and Stranger Eyes is a Singaporean co-production — as well as the first Singaporean feature to ever premiere in Official Competition at the Venice International Film Festival.
Sometimes you're having such a good time with your mates that you don't want to head home just yet. Maybe you need a debrief after that amazing film you just saw at the cinema, or you're so pumped from the live music you've just experienced you'd like to eke out a little more time with friends over a post-gig drink. Or, after spending the allotted time at your restaurant booking, maybe you're keen for night cap before it's time to call it a night. We've teamed up with Maker's Mark to bring you seven cocktail bars in Sydney for when you want to make the magic last a little longer, whether you've just been to the movies, out to dinner or for an evening dip in the ocean. AFTER DINING AT SAINT PETER, GO FOR A COCKTAIL AT CHARLIE PARKER'S Seafood master Josh Niland has transformed his restaurant Saint Peter into an even more intimate eatery, which seats 12–14 guests at a time. After such an exciting meal, from live purple sea urchin to murray cod fat caramel slice, you'll want to keep the conversation going afterwards. Keep to Oxford Street and head down into Charlie Parker's for an after-dinner delight. This basement bar, tucked underneath Fred's, is all class, with dark leather detailing and an open fireplace to capture the feel of a cosy country house. The drinks list has an emphasis on seasonality and freshly picked botanicals. Our pick from it is the Sage ($22), a signature cocktail made with Maker's Mark, Montenegro and verjus. [caption id="attachment_747368" align="alignnone" width="1920"] Nikki To[/caption] AFTER PASTA AT RAGAZZI, DUCK INTO J&M FOR A GLOW UP Ragazzi may be small in stature but this pasta and wine bar, found at Angel Place, more than pulls its weight when it comes to what's on the plate. After feasting on a big bowl of house-made pasta you'll be carb-loaded and ready to roll around the corner to J&M, the charming old-school cocktail bar above Angel Hotel. Pull up a cushioned armchair and spend an hour catching up with your dinner buddies. We suggest starting with a smooth Glow Up ($22), which includes Maker's Mark, exotic verbena, lemon and coconut). [caption id="attachment_622123" align="alignnone" width="1920"] Kimberly Low[/caption] AFTER A MOVIE AT THE RITZ, GO TO WILL'S FOR OYSTERS AND AN OLD-FASHIONED With its art deco charm, The Ritz is a glamorous way to spend a night at the movies. Right now you can also catch a flick under the stars in its Ritz Laneway Cinema, complete with director chair seating. Whether you watch a film indoors or out, keep the glamour — and the good times — going by heading down the hill to Will's at the Coogee Pavilion after the movie. Set on the mezzanine, with stunning ocean views and an ornate, curved central bar, this beachside gem will have you feeling every bit the sophisticate. Enjoy a classic cocktail, like an old-fashioned, paired with smoked trout and fresh oysters. [caption id="attachment_637649" align="alignnone" width="1920"] Katje Ford[/caption] AFTER A GIG AT FRANKIE'S, HEAD INTO DOOR KNOCK FOR A NIGHT CAP Thank the rock and pizza gods for Frankie's — the late-night boozer and pizza parlour where the good times are on high rotation and the live music is booming. After heading to a gig in this underground lair, you may want to find a quieter place to extend your night out and have a chat. Luckily, Door Knock is little more than a stumble away. You'll feel right at home at this subterranean bar, where the lights are low and the drinks pack a punch. In keeping with the speakeasy vibe, order a whisky sour and talk in hushed tones as you while away the hours. [caption id="attachment_790343" align="alignnone" width="1920"] Destination NSW[/caption] AFTER AN EVENING DIP AT SHELLY BEACH, HEAD TO IN SITU There are few better ways to celebrate a balmy summer's evening than with an after-work dip at Shelly Beach. Once you've been reinvigorated by the ocean, and all dried off, why not take yourself from the sand to soak up the night at In Situ? The atmosphere is always buzzing at this small bar, and, despite its size, there's a top-shelf cocktail selection to choose from. Pair the sea-salt on your lips with an old-fashioned and mingle with fellow beachgoers, first-daters and locals alike. AFTER LATE-NIGHT SHOPPING IN NEWTOWN, HEAD TO EARL'S The shops in Newtown are eclectic, mostly independently owned, and best of all, stay open late. After picking up a shiny new record, paperback, or eco shampoo, head down the road to Earl's Juke Joint to rest your legs and share your wares with your shopping pal. When you step off King Street and into this New Orleans-inspired drinking den, opt for a stool at the bar for the best vantage point to watch the bartenders make cocktails with flair. They pour a mean old-fashioned here, too. AFTER A SHOW AT STABLES THEATRE, HEAD TO JANGLING JACKS The Griffin Theatre Comapny, based at SBW Stables Theatre in Kings Cross, is one of the gems of the suburb. After getting your culture fix with a play at this intimate space, you'll want to keep the show going, and talk about what you've seen unfold on stage. Head to Jangling Jacks for post-show ramblings over a whiskey. Take a seat where the magic happens — at the bar — and let the experts take you through their carefully curated cocktail list. Find out more about Maker's Mark and how to make an old-fashioned, here. Top image: Charlie Parker's
Stay tuned. More info coming soon. Image: Trent Van der jagt.
There is nothing like a pun-tastic name to show the world you're serious about fun, and kil.n.it packs as much playtime with clay as it does wordplay. For all your ceramic needs, you can book studio space, time in the glaze kitchen, a firing service or check out a range of classes depending on your skill level. Kil.n.it run classes for kids, as well as a monthly date night event for you and your partner, date, sibling or friend. From Greco-Egyptian vases to unglazed terracotta, pottery is a cool way of connecting to a traditional medium that runs through ancient human history and for igniting your creative side in a tactile way. There are two locations for you to mould your ideal ceramics day or night out – the kil.n.it studios are located at The Nurses' Quarters, 184 Glebe Point Rd, and the kil.n.it classroom is located in the basement of Glebe Town Hall, 160 St John's Road.
Sydney's inner west is known for its shop local mentality; it has heaps of independently owned and family-run businesses to choose from, and this is especially true in Marrickville where different cultural heritages have combined to proudly offer cuisines from the homeland. If you consider yourself a foodie, it's a suburb you should get to know better if only for its award-winning coffee beans, Greek-style souvlaki shops and locally made craft brews. However, it's not all about what you can eat. In Marrickville, you'll also discover vintage homewares, speciality florists and many other gems besides. We've teamed up with American Express to bring you a hit list of the stores you should make time to explore, so whether you're here for meat, cheese, coffee or fresh buds, you can shop small with your Amex Card.
Perched on the fifth level of the newly renovated Sofitel Sydney Wentworth is one of the most impressive additions to Sydney's rooftop bar scene in recent years — a lush terrace watering hole that looks fated to become a popular go-to for an inner-city sundowner. Designed by Fender Katsalidis, who also delivered the interiors of Wentworth Bar's sister venues Delta Rue, tilda and bar tilda, the space is sophisticated yet relaxed, combining leafy planting, natural finishes and soft lighting. Conceived to cater to punters throughout the day, there are a variety of seating options, from low-slung chairs for sun-basking, cocktail in hand, to high tables with stools for those looking to perch for a quick drink and generous seating areas intended for group gatherings. Terrazzo tables and verdant planting centred around an impressive focal point — a mature tree — transport guests far from the urban hustle just five storeys below while DJ sets keep the good times rolling. The cocktail menu amps up the fun with playful mixes that are easy to drink. A signature will be Wentworth Bar's party cocktails. Priced at $220, they come served in a showstopping glass fountain that holds 12 standard drinks. Get the party started with the Tai Chi Mumma, a refreshing mix of Ketel One vodka, rosé, and prosecco, rounded out with raspberry, lemon, and lychee or the Strawberry Yuzu Spritz - a bright blend of white wine, herbal aperitif, yuzu, and a fruity hit of mango, passionfruit, and grapefruit.
Back in 2017, a new kind of glamping experience arrived on the scene about 2.5 hours from Sydney. That'd be Bubbletent Australia: three off-grid, inflatable and transparent domes overlooking the picture-perfect Capertee Valley by day and offering boundless stargazing by night. Now the company has returned, adding two new celestial-inspired tents, Pisces and Ophiuchus. Set on a ridge opposite the original trio, this slightly more remote expansion faces east, meaning unbeatable sunrise views. Beyond your bubble retreat, Pisces and Ophiuchus both come with extra hideaways, with the former featuring a netted bed strung between trees and the latter an elevated treehouse that captures the last sunrays of the day. After the light is long gone, it's the perfect time to peer through the provided telescopes to see what kind of interstellar formations you recognise. However, there are plenty more surprises in store. While Pisces and Ophiuchus are noticeably larger than their predecessors, both are equipped with rotating queen-size beds that make for the ultimate star-gazing experience. With two speeds available, you can drift off to sleep with a gentle spin or send the sky into a swirl as you ramp up the tempo. Once you wake up, you can convert your bed into a ping-pong table (yes, really) or even open up a hidden nook to reveal a pull-out dining table and a built-in wine cellar. What will they think of next? Outside, you've got a separate rain shower and eco-friendly Japanese toilet, set in recycled concrete pipes. But don't think you have to miss a second of the sky-show – each features a transparent roof so you can stargaze on the loo. Though this remote parcel of countryside can get a little chilly at night, a Swedish-style wood-fired hot tub surrounded by native trees ensures you keep the cold at bay. Plus, cosying up on your outdoor sofa won't hurt either. When it's time to hit the hay, your room is adorned with organic cotton linens, woollen blankets and natural bathroom amenities, as well as cosy slippers, outdoor shoes, lanterns, speakers and even an in-room iPad to set the soundtrack. As for dining, the facilities don't miss a beat. Both tents are equipped with all-weather outdoor Bushbuck kitchen stations, with bar fridges, gas burners, pizza stones and a rotisserie. Then you've got a popcorn maker, a sandwich press, and marshmallows for roasting on the fire. This being such a pristine spot, you'll be happy to know that sustainability is factored into just about every aspect of Bubbletent's setup. From solar power and cutting-edge geothermal-powered air conditioning to the elimination of single-use plastics, admiring the night sky and – surprise, surprise – the world's second-largest canyon is made possible without harming the earth. Bubbletent Australia is located in the Capertee Valley. Head to the website for more information.
There are two types of travellers: the ones sprinting to the gate with a busted wheel, and the ones gliding easily through duty-free. The latter probably invested in a very good suitcase. After its co-founders sat at Proud Mary in Collingwood and decided to rethink suitcases in 2019, July hit the travel world with a suite of colourful cases that are more than just chic and durable. Equipped with crush-proof shells, built-in chargers, and more recently, the world's first trackable luggage, July's travel gear is now frequently spotted in airport terminals internationally. On the last weekend of February, July is hosting a massive two-day warehouse sale featuring over 150 styles from its warehouses and archives — it's worth a visit even if you're not planning a trip. From chic book totes and darling crescent crossbodys to handy toiletry and camera bags, the luggage label designs pieces that pull double duty on everyday commutes as well. Online shoppers can get up to 50% off travel essentials, too — you can access the sale via July's website, or hop on the mailing list to get first dibs when the sale goes live — but in-store discounts are slated to be juicier. From 9am to 5pm, Melburnians can browse the collection at the Collingwood store, while Sydneysiders should make a beeline for Rosebery. Images: supplied
If you're unable to resist the charms of Lightning Ridge and need to take a piece home with you, head to the more traditional — but no less colourful — John Murray Art Gallery. Here you'll find the exclusive home for works by the celebrated eponymous artist. Murray's works showcase the beauty and the character of the Australian outback with wit and whimsy. Stop into the gallery to see Murray's photorealistic works up close, and exit via the gift shop where you can pick up original paintings, prints, cards and souvenirs. Murray is also the creative mind behind Lightning Ridge's newest mascot, Stanley the Emu. Unveiled in 2013, Stanley is an 18-metre-tall steel emu made primarily from VW Beetle bonnets and doors, and is an unmissable sight that greets visitors just 10 kilometres out of town. [caption id="attachment_843122" align="alignnone" width="1920"] Vance Bagwell (Flickr)[/caption] Top image: John, Flickr
It's hard to talk about The Darkside. It's a collection of true Aboriginal ghost stories. It's the follow-up to Warwick Thornton's first feature, Samson and Delilah. And it's unlike any other feature film — in format, in feeling and in content. It's a bit like The Turning by Robert Connolly — an anthology of mini-films rather than a long narrative that arcs forward in a straight line. So you have to take it for what it is; there's no suite of regular characters who change or interact or grow or hug or learn together, there are no subplots, no tricks, no twist at the end, no irony, no winking cleverness, definitely no CGI. In 12 small chapters, an encounter with an Indigenous ghost is recounted, usually by an actor, straight into the camera in leisurely, long takes. It's a simple and honest approach to pure storytelling without the cinematic gimmicks we're used to. That makes The Darkside a film to approach with total trust and zero skepticism. Thornton put a call-out all over the country for people to tell their stories of interactions with spirits and the inexplicable. The fact that the stories are real is important. The fact that you may not believe in ghosts is unimportant. After all, you don't need to believe in zombies to enjoy a horror movie. I engaged less with the spiritual side of the film, and more with its sincerity and its unique Indigenous cultural perspective. Thornton's detours from the direct-to-camera thing are highlights: we watch artist Ben Quilty painting a symmetrical, roaring landscape with the spirit of a small, lost girl floating sideways (it is astonishing, and a rare insight into this painter's creative process). We see a long-limbed Claudia Karvan meets the rainbow serpent and dances into Massive Attacked oblivion. And we see quietly distressing archival footage of 1900s colonialists' anthropological studies into Aboriginal people, who were once thought of as the missing evolutionary link between 'legit' humans and apes. There are a few sneaky laughs and a few sneaky creeps. This new tide of Indigenous filmmakers — Thornton, Wayne Blair, Ivan Sen, Rachel Perkins — are speaking for themselves, making Aboriginal stories for all audiences, and showing that black culture cannot be compartmentalised into the past or into the margins of non-white populations: this is not Australia's heritage, this is Australia's present. This film may be in limited release in theatres, festivals and galleries, but it deserves to be seen by everyone. The Aboriginal ancestors of Australia are still here and they're living on in The Darkside. https://youtube.com/watch?v=AUQ-8MBFjjE
The winter cold snap might have you feeling a little glum. But this cold and dark time of year does come with a significant upside — it's time again for Messina to release its latest bake-at-home cookie pie. Last year, the gelato aficionados teamed up with Tony's Chocolonely to serve up a supremely gooey creation. Now, Messina is ramping up the indulgence even further, with a Biscoff cookie pie featuring copious amounts of Biscoff-infused dulce de leche, topped with crunchy Biscoff crumb. What's more, this seasonal invention doesn't have to be a one-and-done treat. Available all winter long at Messina stores nationwide, you're welcome to place your first order from Friday, May 29, either in-store, via the Messina app or delivered right to your door. Like past creations, Messina says it would be criminal not to top this convenient bake-at-home pie with a solid scoop of gelato. And it's hard to disagree. So, when it's time to check out, you can add a discounted gelato bundle to make sure you get the most from every bite. Priced at $28, each pie is big enough for six servings — depending on how serious your sweet tooth is. Plus, if you're keen to bundle, you're welcome to add 500ml, 1L or 1.5L tubs of Messina gelato, ranging from $44 to $60. Made for storing in the freezer, it won't be long before you're digging into this decadent Biscoff number. Simply let your pie thaw for 90 minutes, then bake it in the oven for 18 minutes or so. Just know it's recommended you let it rest for 10 minutes before taking a bite — no doubt an immense challenge that might just prove impossible. Messina's Biscoff Cookie Pie is available for order nationwide from Friday, May 29–Monday, August 31. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to join Netflix in Australia and New Zealand in 2023 so far. This sometimes Technotronic-soundtracked five-part series' beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. Then, in Brooker's Death to 2020 and Death to 2021, two annual looks back at life during the pandemic, Morgan played Cunk-like everywoman Gemma Nerrick — aka the spoof specials' average person among its comic experts. That's Cunk's remit as well. She poses enquiries and makes observations that academics on various branches of history, plus archaeologists, biologists, engineers and others, wouldn't expect to be asked by their peers or serious interviewers. In fact, they wouldn't anticipate being asked Cunk's questions by anyone, really, except perhaps very young children. "If you want to talk about Russian Soviet vegetables, we can," is one response that Cunk's incorrect queries garner, this one after accusations of mansplaining when she's told she likely means the Soviet Union. When she isn't uttering outlandish questions, she's often simply demanding OTT statements that'll help the show go viral, such as an exchange with another boffin where she requests a pithy soundbite stating that Jesus Christ was "the first celebrity victim of cancel culture". Or, in classic history doco style, Cunk is walking and talking, her eyes trained on the camera and scenic and/or important locales stretching out behind her — and, elsewhere, narrating while remaining unseen over the same type of images. Much of Cunk on Earth's hilarity comes from its take on the past, and on humanity, as well as the series' love of the ludicrous — as delivered with Cunk's dry, droll and unflappable demeanour (unless she's learning that Laika, the first dog in space, didn't make it home). She posits with the straightest of faces that the human brain is made of pipes, and that Beethoven's 'Symphony No 5' has lyrics that just repeat the word "dumb" over and over. She has thoughts on the worst Romans, in ancient times and now; connects hieroglyphics to emojis and likens mummification to Gwyneth Paltrow's spa treatments; and asks "was early man made out of the same sort of meat as us?" while then wondering if human flesh ever had a pork- or beef-like moniker. Morgan's performance is a marvel, and a perceptive portrait of couldn't-care-less arrogance, ignorance and certainty that plays as an easy-but-still-smart caricature of a growing attitude prevalent online today. With one character, she's as much of a canny and cutting comedic force as Sacha Baron Cohen has proven with Ali G, Borat, Bruno and the various figures in 2018 mockumentary series Who Is America?. Cunk, in all of her on-screen appearances, adopts the same basic format as Baron Cohen's alter egos — proposing the absurd to both parody and interrogate. Her throwaway comment about the pyramids being designed the way they are to "stop homeless people from sleeping on them" says plenty about society's treatment of folks doing it tough, and she skewers the overuse and misattribution of quotes by stating that Aristotle said "dance like no one is watching". As brilliant as Morgan's deadpan turn is, and as committed as the Inside No 9, Motherland and Mandy actor is, Cunk on Earth is equally reliant upon its interviewees. They each take their task seriously — the real-life experts aren't here to court laughs — but they're also willing to use Cunk's silly queries and comments as a jumping-off point. The question about the brain's pipes inspires a considered and accessible explanation of two different schools of philosophical thought, for instance. Often, Cunk's naive musings spark tidbits and corrections that do exactly what an Attenborough-style show like this sincerely and earnestly would: inform. Of course, for every enlightening answer offered — whether recounting something that's common knowledge anyway or diving deeper — Cunk on Earth has Cunk being Cunk. She asks about ancient Greeks before declaring she couldn't give a shit, segues off on tangents about her ex-boyfriend Paul to counter her panel of experts, and pronounces words incorrectly to humorous effect (even if nothing beats her butchering of Camelot in Cunk on Britain, which begets questions about King Arthur's semen production). A series like this is a masterclass in juggling, with everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. Here, this very series is flat-out masterful — and tremendously funny. Check out the trailer for Cunk on Earth below: Cunk on Earth streams via Netflix. Images: Jonathan Browning.
For a lot of us, this year has been a time of reflection, much of which saw us reliving the glory days while we wait for life to get back to normal. For the arts lovers among us, that probably meant harking back to all your days watching live theatre, catching a panel discussion, head-bopping to live tunes and throwing shapes in sweaty mosh pits. Here at Concrete Playground we've been reminiscing about some of the standout gigs we've been to in past years and it's gotten us pretty damn excited for the new memories we'll be making come 2021. So, we've teamed up with Sydney Opera House to celebrate its reopening. The iconic Aussie arts venue is inviting you to share the most memorable moments you've had there — either within its walls or on its steps. Then, in January, a selection of the best moments will be projected onto the sails. All you need to do is share your favourite memory via the website, email or social media along with #MySydneyOperaHouse. We jumped on board, too, so if you need some inspiration, check out nine of our most memorable Opera House events over the past five years. Then, take your own trip down memory lane for the chance to have your moment splashed across the sails for all of Sydney to see. [caption id="attachment_793882" align="alignnone" width="1920"] Miku, Daniel Boud[/caption] DANCE RITES, 2019 It's only been running for six years, but the annual dance competition has become a firm favourite on Sydney's events calendar. First Nations dancers and musicians travel from north-east Arnhem Land, the Torres Strait and just down the road to perform in a temporary sand pit positioned by the Opera House steps in a celebratory exchange of cultures. Hundreds of performers compete for various prizes, and in 2019 the top gong was presented to local dance group Muggera, from NSW. You might know its founders Darren and Jax Compton from NITV's Move It Mob Style or Yabun Festival. Seeing Darren and Jax's group recognised at the city's iconic building was a moment of local pride. Emma Joyce, Branded Content Editor [caption id="attachment_793876" align="alignnone" width="1920"] Daniel Boud[/caption] SOLANGE, 2018 The force that is Solange was evident when she first took to the stage at Sydney Opera House. Sure, we knew it before, but not quite like this. The gig was visually arresting, with movement as much a part as the music. Combine that with the show's main songbook, A Seat at the Table, and its themes of race and womanhood and it was one hell of a gig. Each song bled into the next, making for one super-slick, seamless sonic delight, only to be heightened by the monochromatic costumes, perfectly timed dancers and dramatic red light swathed across the stage. Having been to both of Solange's sell-out Sydney shows, I left both astounded by her genius. The 2018 gig was a feast. The 2020 one? Well, it was one of the last big gigs Sydney saw this year, which holds a weight of its own. Cordelia Williamson, Branded Content Producer [caption id="attachment_793874" align="alignnone" width="1920"] Clare Hawley[/caption] 'IN THE HEIGHTS', 2019 Without trying to trivialise all the bad things that have happened this year, the delayed release of the In the Heights screen adaptation was a huge disappointment. But it made me all the more grateful for having seen the Blue Saint Productions tour for Sydney Festival. I only managed to nab standing room tickets, but it turned out to be a blessing in disguise — because as soon as the show began, with the colourful mix of Latin rhythm, rap, hip hop and soul music, you wanted to be on your feet grooving along. It was captivating and joyful — and, at times, searing, as the characters deal with themes of loss, racism and identity. If I wasn't already convinced of Lin Manuel Miranda's genius from listening to the Hamilton soundtrack on repeat, witnessing this revolutionary show (and learning he wrote the first draft in college) was the final stroke. Melanie Colwell, Branded Content Editor [caption id="attachment_793877" align="alignnone" width="1920"] Keith Saunders[/caption] DAWN CHORUS, SYDNEY PHILHARMONIA CHOIRS, 2020 Despite 2020 being the year of minimal gigs, Sydney Philharmonia Choirs' Dawn Chorus is one that stands out from more than a decade of gig-going. The one-off concert took place on the Monumental Steps and, despite being at the crack of dawn (literally) and the pretty grim weather, it drew quite the crowd. I hadn't woken up that early for a while — 5.30am after a night out ain't easy for some. But, huddled for warmth on a summer's morning, we all stilled as soon as the a cappella voices echoed through the dark. It was a no-frill performance; pure vocals backdropped by the Opera House sails and using the naturally theatrical lighting of sunrise. I can't recall if the sun actually burst through the clouds at this moment but, as the choirs sang Dolly Parton's gospel-style ballad 'Light of a Clear Blue Morning', it sure felt as if it did. Cordelia Williamson, Branded Content Producer [caption id="attachment_793879" align="alignnone" width="1920"] Daniel Boud[/caption] TEN YEARS OF FUTURE CLASSIC, 2015 It was only five years ago, but 2015 feels like another age. Touch Sensitive's 'Pizza Guy' was on heavy rotation. Chet Faker was still chill with his stage name. And baby-faced Harley Streten was riding high off the back of his debut album Flume. It was an exceptionally good time for Redfern-based record label and artist management company Future Classic — the glue sticking these artists (and many others since) together. For Future Classic's ten-year anniversary, it was awarded prime real estate during Vivid Festival on the Western Broadwalk for an openair gig packed with partygoers and supporters. And what a way to blow out the candles. Sydney had recently adapted to its new lockout laws, but there was a sense that the party spirit couldn't be dampened. Emma Joyce, Branded Content Editor [caption id="attachment_793881" align="alignnone" width="1920"] Daniel Boud[/caption] KAMASI WASHINGTON, 2019 If you're a fan of the dizzying afrofuturist neo-jazz genius that is Kamasi Washington, then you'll probably already know how good his 2019 gig in the Opera House Concert Hall was — even if you weren't there. The LA tenor saxophonist has played at the House a couple of times, taking to the stage with his eight-piece band. Last year, it was all about Heaven and Earth; Washington's two-and-a-half-hour double album that gets to the belly of progressive improvisational jazz. The solos were some of the most exciting and raw musical experiences I've had, particularly the two drums. It was a mind-blowing, quasi-cosmic performance of freeform jazz, funk and hip hop. It left no question that Kamasi Washington is an artist in his prime — and of his time. Cordelia Williamson, Branded Content Producer [caption id="attachment_793875" align="alignnone" width="1920"] Prudence Upton[/caption] 'BARBU', CIRQUE ALFONSE, 2017 When I went to see Quebec-based troupe Cirque Alfonse perform Barbu in 2017, I was, somewhat (naively it turns out) anticipating something akin to Canada's most famous circus export. But Cirque du Soleil this was not. It started fairly predictably — trampolining, trapezing, juggling — before descending into utter, yet carefully choreographed, chaos. There were four men roller skating while pulling each other along by their luscious beards. Someone dressed in a mirror-ball spinning around the circular stage inside a giant hoop. The two female acrobats performed a contortionist duet on a pole and an elder gentleman performed comedic skits in platform heels with his rodent accomplice. And most of this happened with the ensemble wearing barely anything — and, at some points, nothing at all — soundtracked by the increasingly frenetic stylings of a live three-piece band (a DJ/violinist, a guitarist and a whip-clad, corseted drummer). On the screens around the room, video footage played of naked people running through meadows. Despite it happening in The Studio, one of the Opera House's smallest spaces, it was impossible to know where to look. Barbu was astonishing in many ways, from the impressive strength of the performers to how each feat was more random, bizarrely erotic and death-defying than the one before. It was unlike anything I had ever seen before — or since. Melanie Colwell, Branded Content Editor [caption id="attachment_793878" align="alignnone" width="1920"] Daniel Boud[/caption] THE DEEP PURPLE POOL HALL, 2015 We can thank Ben Marshall for a lot of fond memories at Sydney Opera House over the years — including seeing Tame Impala perform by the steps, blissing out to Sufjan Stevens and chanting back at The Preatures' cover of The Angels' 'Am I Ever Gonna See Your Face Again?'. But one of the quieter wins of his reign as curator of Vivid Live was introducing a space at the House where we could get a well-made cocktail and shoot the breeze with our besties. In 2015, Marshall invited the team from Tio's and The Cliff Dive to create a pop-up bar in the Concert Hall's northern foyer with pool tables, soft furnishings and DJs. It's where we debriefed. Where we formed new friendships and solidified old ones. It's where we fell back in love with Sydney and its capacity to transform the city's landmarks in winter. Emma Joyce, Branded Content Editor [caption id="attachment_793883" align="alignnone" width="1920"] Prudence Upton[/caption] PAUL KELLY AT THE FORECOURT, 2017 It doesn't get much more Aussie than seeing our country's bard performing at the foot of the Opera House. Paul Kelly's music is loved because it is Australia put into song. Though he was promoting his latest album Life Is Fine, his hits were what really entranced the crowd. He indulged us, too, playing songs like 'To Her Door' and Australia's Christmas anthem 'How to Make Gravy'. But, for me, it was 'When I First Met Your Ma' that made this one of the most memorable gigs in my young lifetime. What I deem to be one of the greatest love songs had me crying. But it wasn't just the tune, rather the sum of its parts — the setting sun, the glistening Sydney Harbour, the Opera House sails behind me and Kelly's live tunes sung unapologetically with an Aussie twang. At the risk of sounding completely sappy, it was a moment of true pause; one where you forgot about what's on next or that thing you messed up two days ago and you're just there — absolutely loving it. Cordelia Williamson, Branded Content Producer Relive your most memorable Sydney Opera House moments and share it via social media with the hashtag #MySydneyOperaHouse. Or, submit your entry to the competition via the website, email to myhouse@sydneyoperahouse.com. It can be a photo, video, drawing, a written story, an illustration or an audio — just get creative. Submissions close Thursday, December 31 2020. Top image: Hamilton Lund
Bondi has the kind of natural wonder most places in the world can only dream of, so it's no wonder store owners are so environmentally aware. Located on the immaculate boutique-lined Gould Street, Bondi Wash is proudly peddling Australia's best botanical scents. Founded by local Belinda Everingham, Bondi Wash has shampoos, body washes and cleaning products all made with native fragrances. Since opening, the store has expanded beyond scents to cater to all corners of the beach house with natural dog wash, organic, ocean-friendly surface cleaners and a host of skincare products perfect for sensitive skin. Images: Josh White.
Visit Balmoral Beach in 2023 and you'll be splashing around in one of the nation's top beaches for this year, no matter when you head by. Make a date with the Sydney patch of sand this winter, however — and with Balmoral Beach's Bathers' Pavilion, to be specific — and you'll also be able to enjoy a meal from a three Michelin-starred English restaurant, with Simon Rogan's L'Enclume making the trip Down Under for the first time ever. For five weeks between Wednesday, July 19–Sunday, August 20, in what marks L'Enclume's debut venture away from its Northern England home, it'll set up shop at Bathers' Pavilion for a residency. British chef and restaurateur Rogan, who is known for his farm-to-table focus, will bring a number of the restaurant's famed dishes our way. In fact, he'll transport a version of the L'Enclume experience beachside from its base in the village of Cartmel in The Lake District in Cumbria, where it resides in a former 13th-century blacksmith workshop. L'Enclume will still operate as usual in the UK during its Sydney residency, too, giving the world two L'Enclumes running at the same time. If you're new to L'Enclume, and to Rogan, both favour the idea of the perfect ingredient. So, in each small and meticulously constructed bite served up, that concept comes to the fore. Across an eight-course menu, plus snacks and petit fours, patrons can expect L'Enclume's favourites — but adapted to use ingredients from New South Wales and Australian producers. The residency is committed to having a traceable menu, and Rogan is already contacting locals, seeking folks who can grow supplies specifically for his time at Balmoral Beach. And yes, Rogan himself will overseeing the Bathers' Pavilion stay, leading the kitchen for every single service. Oli Marlow, Executive Chef of Roganic and Aulis London and Hong Kong, and Sam Ward, Managing Director of Simon Rogan restaurants around the globe, will join him, plus a team from the UK that'll feature up to eight chefs, four front of house staff and a sommelier. Only welcoming in a maximum of 80 attendees per sitting, the intimate residency will also bring over L'Enclume style of service, and have diners eating off of a version of its preferred crockery that'll be handmade in Australia. To help wash down Rogan's precisely fashioned dishes, Rogan's sommeliers are crafting a sizeable wine list, complete with wine pairings to match the food. And, there'll also be a cellar list, with folks with cash to splash on budget-breaking vino able to pre-arrange rare vintages and bottles before their bookings. Setting guests back $420 each for eight courses plus snacks and petit fours, and either $190, $290 or $750 per person for wine pairings on top (or $70 for non-alcoholic sips), this clearly isn't the kind of culinary experience that Aussies get every day — and it's also one that's worth travelling for. If you don't normally call Sydney home, you'll only need to book a jaunt to the Harbour City, rather than the other side of the world. Announcing the residency, Rogan said that "winning three Michelin stars at L'Enclume is a culmination of 20 years of work and evolution by a group of dedicated chefs and front of house specialists". L'Enclume notched up that feat in 2022, when it also hit that 20th anniversary. "The Sydney residency marks a big milestone for us as we enter our third decade and our boundary-pushing team could not be more excited to share our strong sustainability ethos and serve up some of our favourite L'Enclume dishes using the outstanding local ingredients unique to New South Wales and Australia," Rogan continued. "For me, it's all about layers and complexity of flavour, creative produce sourced with a sustainable ethos, and warm and knowledgeable service. It's not just the restaurant which makes the L'Enclume experience, it's the surroundings too, and even though the setting at Bathers' Pavilion on Balmoral Beach couldn't be more different to Cartmel, it feels so similar in its sense of beauty and uniqueness." Find L'Enclume at Bathers' Pavilion, 4 The Esplanade, Balmoral Beach, Mosman from Wednesday, July 19–Sunday, August 20 — open for lunch Tuesday–Sunday and dinner Tuesday–Saturday. Head to the Bathers' Pavilion website for bookings from Tuesday, February 14, or sign up to the Bathers' Pavilion newsletter for updates.
Everyone has heard about — or tried to eat their way through — KitKat's famed range of weird and wonderful Japanese flavours. A cough drop version once existed, and it really wasn't great. The sake version, a perennial favourite, is absolutely delicious. But if you're vegan, none of these varieties will have tempted your tastebuds. KitKats in general won't have either, actually. That changed back in 2021 for Aussies who follow a plant-based, dairy-free and cruelty free diet, and were also keen to sink their teeth into a KitKat. The brand launched a vegan-certified KitKat, as made with a rice-based milk alternative. The result: a KitKat covered in a smooth plant-based milk chocolate — not dark chocolate — which is then layered over the usual crisp wafers. The original run of plant-based KitKats was a limited-time deal; however, they're now back in Australian supermarkets again. This time, they've hit Coles stores — and only for a short period. That means that everyone can now have a break — and a KitKat — with KitKat Plant Based joining other plant-based alternatives among Nestle's products. So, if you'd like to crack open a few fingers while tucking into a glass of plant-based Milo, you'll be able to. The 41.5-gram bars cost $3 and, if you're super keen, they can also be ordered from the KitKat Chocolatory website. When your next sugar craving hits, add them to your list alongside vegan Natural Confectionery Co fruit lollies, vegan choc tops, and vegan Magnums, Cornettos and Weis Bars. KitKat Plant Based is available now at Coles stores around Australia — or you can them from the KitKat Chocolatory website.
Expect to see the human body pushed to its absolute limits, choreography that seems almost miraculous and a potent blending of music, poetry, costuming and design. In this exclusive Sydney season, Louder Than Words is bringing two of the most awe-inspiring dance works (ever!) to the Sydney Dance Company stage. And they're both world premieres. From SDC artistic director, Rafael Bonachela, there's Scattered Rhymes, which is a collaboration with Australian composer Nick Wales and Grammy-nominated British composer Tarik O'Regan. It's an exploration of love in all its incarnations — from the unrequited to the sensual to the divine. Then, from Greek choreographer Andonis Foniadakis, there's Parenthesis, which features an original score written by French composer Julien Tarride and costumes created by fashion designer-photographer Tassos Sofroniou. It's an intense, athletic journey into the duality contained within an intimate relationship. With only 11 shows in the season, you'll want to lock down your tickets early; this is one impressive double-bill. Image: Justin Ridler.
Another historic Sydney boozer has been given the makeover treatment. With more than 140 years under its belt, Surry Hills' Keg & Brew Hotel reopens its doors this week, launching into the sunny season with a brand-new look (and rooftop) courtesy of a $10 million revamp. At the hands of owners The Good Beer Company (who also own Paddo's Four In Hand Hotel, Randwick's Duke of Gloucester (DOG) Hotel and The Commodore Hotel on the lower north shore), the former Foveaux Street terrace house has copped a complete overhaul, however a few heritage touches and its historic facade kept intact. It's the second time the group has renovated the venue, having also given it a spruce when it took over the pub in 2014. Head in from today — Thursday, October 3 — and you'll be first met by the ground floor public bar, which still has a solid pub menu of burgers, parmas and steaks, and over 30 taps with rotating craft and mainstream beers. Another 20 beer taps feature throughout the rest of the pub. One level up, the former guest rooms have been transformed into a new 70-seat restaurant and second bar (which will open next month), while above that lies a series of function spaces with room for up to 120 punters. [caption id="attachment_744424" align="alignnone" width="1920"] The new rooftop.[/caption] But perhaps the biggest pull for the impending summer months is the Keg & Brew's new openair rooftop, which not only has its own bar and pizza oven, but some ripper city views, too. Surprisingly, Surry Hills doesn't have too many rooftop bars — save the ones at The Dolphin and The Horse — so we're sure this will become a go-to for cocktail jugs on balmy days and nights to come. This is the second The Keg & Brew is just the latest in a string of recent big-dollar pub revamps in Sydney. Lower north shore gem The Oaks is reopening this month following an ambitious top-to-bottom makeover and in Erskineville, the pub formerly known as The Swanson was recently reincarnated as The Kurrajong. The new-look Keg & Brew Hotel is now open at 26 Foveaux Street, Surry Hills from 10am each day.
Last Friday, as you may well have heard, somebody set the Lansdowne Hotel on fire. Most Sydneysiders will be familiar with the Landsdowne. It’s the neon-lit three-storey art deco hotel on the corner of Broadway and City Road, overlooking Victoria Park, which is always open when everything else is closed. It's sleazy, and the clientele are scruffy, and it has been beloved of every University of Sydney student and every local criminal and eccentric for well over a hundred years. And there it was, burning down. If you've driven through Chippendale since Friday, you'll have realised it hasn't, in fact, burnt down. Rather, a fire started on the third floor, forcing the hotel guests to evacuate, closing City Road for most of the morning, and closing the pub until, well, further notice. But the spectre of the end of the Lansdowne upset not just me but also many people I know and many more I’ve never met. In a strange way it burrowed its way into our hearts over the years, and we realised for a few moments that we would feel lost without it. Conversations with friends that night revealed a particular pattern to individual histories of the Lansdowne. While they might have tried to put in a velvet lounge or two and introduce (very decent) band nights over the last couple of years, most of the stories of the Lansdowne I heard began or ended with heady, fuzzy alcohol-soaked staggers through the open doors in the wee hours of the morning. There were stories of arguing with the bartender over the price of beer, of people making out clumsily on the couches, of untidy break-ups, of punch-ups, and of impromptu dancing on tables. It's rarely a destination in and of itself. Rather, it is the beloved pub of last resort, eternally reliable in all its sleazy neon grandeur at the intersection of two busy roads. A little bit of research reveals the Lansdowne has probably always been that way. The current incarnation has been around since 1933, a stalwart of Chippendale well before anybody could even conceive of it being included in a list of Australia’s 'hippest' suburbs. For most of its existence, Chippendale has been a violent, drunken slum, home to criminals, gamblers, and prostitutes, and then, over the years, the equally questionable musicians, students, and communists. The people who lived there were overwhelmingly poor, and the combination of factory poisons, sewerage, and the reek of the brewery in the air made it a generally unpleasant place to live. The Lansdowne, true to the grimness of the neighbourhood, was nearly always sleazy. While the Temperance Unions won a small victory in the early 20th century with the introduction of six o'clock closing times (with the aim of sending men home to their families instead of the warm embrace of a bottle of whisky), it instead marked the beginning of Sydney's much-maligned binge drinking culture. The six o'clock swill saw men flood the Lansdowne to get as much drink into them before closing time as they were physically able. The Lansdowne became a kind of feeding trough between the hours of four and six, where the long bars had a trough at the base for the men to piss in as they stood. Tiled walls were also introduced. Not for any aesthetic appeal; rather, they were easier to hose the vomit off of. Like all inner-Sydney pubs, it was a place where men went to escape, and any woman who did walk into the Lansdowne wasn't somebody likely to be too worried about her reputation. It was somewhere bookmakers and standover men hassled 'sly-groggers', prostitutes, or anybody who looked at them in a 'funny' way. During the 1930s Kate Leigh, of Underbelly fame, had a slew of standover men who would frequent pubs, including the Lansdowne, to buy the booze she would sell on the sly. One of her men, Chow Hayes, finding he had been replaced while he'd been in prison, wandered into the Lansdowne one night to locate the man who'd replaced him. He invited him outside, and he shot him. The Lansdowne continued to be sleazy and rough well past the Razor Gangs, with one of Sydney's most renowned hit men Mr Rent-A-Kill, also a frequent patron. Yet it was also the occasional drinking hole of the Sydney Push, who had amongst their number Germaine Greer, Frank Moorehouse, and Lilian Roxon and were infamously described by Barry Humphries as "a fraternity of middle-class desperates, journalists, drop-out academics, gamblers and poets manques, and their doxies". In the '80s and '90s, the Lansdowne also became one of the first venues bands were likely to play in their early careers, hosting gigs by the likes of You Am I, Peabody, The Go-Betweens, and Died Pretty. When they renovated the Lansdowne a few years ago, they made the downstairs bar airier and brighter and got rid of the cheap meals to replace them with slightly less-cheap meals. Yet for all of that, it maintains the atmosphere of its many years of questionable history. It's probably fair to say that Sydney would in many ways be bereft without places like the Lansdowne, even though they don't necessarily make us look our glittering best. That’s where the attraction lies, and that's why we are very thankful that the Lansdowne did not, in the end, burn down last week.
Lovers of high tea will tell you that it's just as much about aesthetic as taste: the outfits, the adorable tiny food and the unmatched setting looking over the glittering harbour. Shangri-La Hotel, Sydney's new offering, Blu Bar High Tea, offers all of the above in spades. With sweeping views over the water and beyond from level 36 and resident pastry chef Anna Polyviou (otherwise known as the 'punk princess of pastry') at the helm, you can be sure this will be a little different than the typical civilised high tea experience. And, the best bit — apart from that epic view — is that the high tea is buffet-style. You know what means? All the sandwiches and sweet treats you can manage. You can expect a bit of a twist on the usual cucumber and bubbly affair, starting with free-flowing teapot cocktails, filled with funky concoctions like Passion Tea-quila and Pink Panther. Traditional snack favourites like egg sandwiches and quiches will be on offer, and some not-so traditional desserts. Sweet treat flavours include piña colada (coconut, pineapple, lemongrass and Malibu), popping (caramel, popcorn and chocolate) and strawberries and crème (strawberry, mascarpone and vanilla). What forms these ingredients will take is anyone's guess given Polyviou's imaginative style. This quirky high tea takes place in the hotel's Blu Bar every Friday, Saturday and Sunday, from 11.30am–1.30pm and 1.45–3.45pm. It's priced at $75 per head on Friday and $95 per head on Saturday and Sunday and includes a glass of Champagne on arrival (Saturday and Sunday only) before you start on those free-flowing cocktails. What a civil weekend activity indeed.
In the late 60s, a decade after first slinging slices in America's midwest, Pizza Hut started taking the second part of its name seriously. Thanks to a design by architect Richard D Burke, who agreed to a $100 fee for each location that opened — a hugely lucrative deal, it turned out — everyone knows the fast-food chain's famous silhouette. From 70s, 80s and 90s childhoods in particular, that angular roof instantly brings to mind family feasts, birthday parties and all-you-can-eat pizza specials that gave Sizzler a run for its money in Australia, dessert bar included. Brooklyn-based Aussie filmmakers Matthew Salleh and Rose Tucker, who previously made Barbecue and We Don't Deserve Dogs, are well-are of this history. In fact, they've made a documentary that's partly about it: Slice of Life: The American Dream. In Former Pizza Huts. They're equally cognisant of the nostalgic feeling that old Pizza Huts bring. "I kept thinking back to the soft-serve machine. As a kid, I was just drawn to that machine. I just wanted the soft serve with the sprinkles, the coloured sprinkles on top — my Pizza Hut dream was the soft-serve machine," Tucker tells Concrete Playground, chatting about the film that'll premiere at 2024's SXSW Sydney in October. Audiences will indeed remember their own experiences in Pizza Hut's distinctive buildings while watching Slice of Life. Craving pizza comes with the territory, too. Salleh and Tucker haven't tucked into Pizza Hut while making the movie, purely "because they're not in New York", Salleh advises, but they still understand the urge. "Occasionally we're editing and we'll see shots of pizzas, and I'll be like 'we need pizza'. Luckily, living in Brooklyn, you only have to walk about 150 metres to find some pretty awesome pizza. So if anything, it's just made me eat a lot more pizza in New York," he continues. Recalling times gone by for a global chain is just one of this doco's ingredients, however. Consider it a topping; at its heart, this film's main focus is right there in its title. While they weave in the Pizza Hut origin story, and that of those huts known around the planet, Salleh and Tucker are interested in how such immediately recognisable structures have lived on in new guises in the US once the brand left plenty of those buildings. Be it a Texan karaoke bar, a LGBTQIA+ church in Florida or a cannabis dispensary in Colorado, what made-over former Pizza Huts say about the pursuit of the American dream today is also as pivotal to their documentary as dough is to the world's most-beloved Italian dish. The pair boast a tried-and-tested approach, as their first two feature-length films also capitalised upon. Take one thing — barbecue cooking, canines, ex-Pizza Huts — then dive deep, building a portrait of what humanity's interaction with said subject explains about the world, people in general and/or a specific country. All three titles have also enjoyed a relationship with SXSW. Barbecue premiered at SXSW Austin in 2017, and was picked up by Netflix as a result. Then, We Don't Deserve Dogs was selected for the pandemic-affected US event in 2020. Now, after being one of the first films announced for this year's lineup, Slice of Life will bow at SXSW Sydney's second year. View this post on Instagram A post shared by Urtext Films (@urtext) If there's a spark of familiarity to Salleh and Tucker's latest concept, that's because the Used to Be a Pizza Hut blog has also been operating in this territory. It was a helpful resource for them, with its founder Mike Neilson among their interviewees. Wondering if the duo ever thought of expanding their remit beyond US Pizza Huts, as the site covers? They've dubbed their American focus "geographical discipline". Explains Salleh: "this is our documentary version of the great American road movie, I guess. We were tempted to to make this thing global, but then we knew we'd be probably making it for the next 20 years." Adds Tucker: "we really could, they built these things all over the place." What does having SXSW's support mean to the pair? "It's amazing. As an independent filmmaker, it's really, really tough to even get into a festival, so to do it with SXSW now three times is pretty special," says Tucker. "We're basically independent DIY, and so to be able to go to a festival that also has a little bit of a market and business side to it as well, and tries to bring those elements together is, I guess, what we try to do on a daily basis — bringing together the business of what we do and the creativity of what we do. So it's been a good fit over the years," advises Salleh. When you hone in on a specific topic per documentary, where does inspiration come from? Also, how do you know that you're onto a winner of an idea, and then get your subjects onboard? From the way that they handle to on-the-road projects to finding their former Pizza Huts and what they learned about America while making Slice of Life, we chatted through the details with Salleh and Tucker. On Where Salleh and Tucker Find Inspiration Rose: "I guess you could say we're just chronic people-watchers, and we're just interested in things that people get passionate about. So with Barbecue, that one's a fairly obvious one: people get really fired up about cooking and gathering with their family. There's a little bit of patriotism involved in that as well — everyone thinks they have the best barbecue — so it's a thing that gets people talking and gets people passionate. And similarly with dogs. People love their dogs and that's a global phenomenon." Matthew: "We have a scribble board of hundreds of ideas, and it's a survival of the fittest. It's when we can see that an idea will play out in a in a whole film, rather than be a short or something like that. I often say there's a taxi or Uber driver test, where an Uber driver will ask what you do for a living and you explain the film you're making, and they go 'ohh you have to go interview my best friend' — or if they know someone or if they can tell their passionate story. It was a similar thing with this new film, we would talk about it with people and they go 'ohh back in my town, the old Pizza Hut used to be ...'. There was either nostalgic remembrance of what it used to be or 'ohh now it's a mattress store', 'now it's a Hertz car rental' or any sort of interesting thing. So it seems to have really gotten people interested in talking passionately. And it's interesting as well, because there's a lot going around at the moment with people re-examining pop culture nostalgia and stuff like that. But then it just presented this amazing opportunity for us where we were actually able to go 'well, here's something pop culture and nostalgic, but it still exists in this strange way now'. So it was a way that we could combine the nostalgic memories of old Pizza Huts with this entrepreneurial spirit of people starting up businesses potentially in buildings they never thought they would, but making it work somehow." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "There's this idea of community that flows through these buildings. So when they're a Pizza Hut, they're a community hub. And it would be a really big deal if your small town got a Pizza Hut. It was a big, big deal. Then when they close down, that hub goes away. But now they're sprouting up again in these second, third, fourth, fifth lives, and those places are now similarly hubs for the community. They're the places that we were really focusing on trying to find — those places that still are that gathering point, or that third place that that people are drawn to and want to spend time with people in." Matthew: "And in a world where those sort of places are dying away, making this film coming out of the pandemic, where we had to eliminate that third place, those gathering places in the community‚ and even the fact that a lot of these businesses survived through some of those tougher times so that they can flourish now — that was very much part of our mind when we were making this. It's places where people can just get together, whether it's a church or whether it's a restaurant …" Rose: "Or a karaoke bar." Matthew: "… and just be part of their community." On Finding Slice of Life's Old Pizza Huts in Small Towns Across America Where Having the Chain in Town Was Originally a Source of Pride Rose: "We were actively seeking small towns. The most-rural town we visited is Walsenburg, Colorado — and that is in the middle of the country, small town, and it was a big deal. From memory, I think that the only other fast food they currently have is a Subway." Matthew: "Much less romantic." Rose: "But it was a huge deal to get this big building, this big Pizza Hut, that was right on the edge of town — it was a massive deal. And it was where all the sports teams would go on the weekend after finishing their game, it's where kids would go after their prom for their after party. Like, this was the place." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And I think it was this idea that the town over didn't get the Pizza Hut — we got the Pizza Hut. We're all very hip and cosmopolitan now, we might almost chuckle a little at a chain store having meaning, something important to a community — but back in the 60s, 70s and 80s, when towns, especially towns across America, were trying to grow and trying to be something, these were the test of having made it, as it were. So that seemed to be a big part of it. And then there's also a practical consideration, because we basically had to become world experts in these old Pizza Hut buildings — and they survive more in small towns, because I think the ones that were in big cities have just gotten levelled with the passage of time." Rose: "Or they were never built in the first place. This is a building that worked in suburbia and out on the highways. I don't think there were any traditional Pizza Hut buildings built within New York City, where we live at the moment. So you're not going to find one here. But you go out a little bit, you go down into Long Island, suddenly they start popping up." On Salleh and Tucker's Two-Person Approach to Filmmaking Matthew: "The main thing is the incredibly small footprint. It's basically just myself and Rose, and we do pretty much the whole movie. So I direct and Rose produces. I do the shoot. I do the cinematography. Rose does the sound. We both edit it. We do a surround-sound mix and picture work on the film in our one bedroom apartment." Rose: "In the room we're sitting at now." Matthew: "We just basically do the whole film from a technical point of view by ourselves. And, one, it makes it cheaper and more versatile — but the most-important thing is that versatility in that we don't need to have bosses that we get approval from when we come up with an idea, and we can just stay in a place until we get the story, and we can move around and be this very intimate film crew. When we film, it's not this giant truck with 20 people turning up. It's me and Rose and a backpack. And that familiarity that people have with us it just gives a gives our film something else, I hope." On How Having Such a Small Filmmaking Footprint Helps Get Subjects Onboard Rose: "We love the intimacy that we can create with it just being the two of us. The fact that we're a couple as well, I think a lot of the people we're working with, a lot of people running these businesses are little husband wife teams as well. So there's definitely a connection that we just have. We run our own business. We understand the challenges of running a small business, and we like to think we're quite entrepreneurial as well. I think we have a lot in common with the people who we are filming with." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "When you run your own business, when you want to be sustainable and have your arts career that works as a business, you have to know as much about cinematography as you do about filing tax returns. We met with a lot of people that had a passionate thing they wanted. I think instantly of Ed running Big Ed's BBQ, who had this passion for barbecue and then instantly realised he was in over his head — and that very much resonated with me as a person that got way in over my head when I decided to start a film company however many years ago. That part of the storytelling also reminds me of my dad, who started his own business after working in government for many years. I think everyone that knows someone that's an entrepreneur, a sort of self-starter, it's a sort of crazy type of person. It was a lot of fun to hear those stories." Rose: "But we definitely had to win people over. And we'd always have a few conversations over the phone before we turn up with cameras and really explain what we were trying to do. I think particularly in this day and age, people can be a little hesitant with documentary, like 'ohh, are you making fun of me or is this a hit piece?'. And we would have to assure people that was not the case." Matthew: "Something we weren't sure about: people operate their businesses and lives out of these former Pizza Huts, and it's kind of a humorous concept. I'm like 'do they think it's humorous as well?'. And they certainly did. I remember our first phone call with everybody from the church in Boynton Beach that we filmed, and the first thing they wanted to tell us is that they'd given themselves a nickname of the Church of the Pepperoni. They think it's very funny as well. There's something about that sense of humour, it's a little wry smile when they know that they run out of an old Pizza Hut. But then you go beneath that and you go look through the window, effectively, and there's these amazing lives, and these really powerful and interesting people. View this post on Instagram A post shared by Urtext Films (@urtext) I would say that with a lot of pop culture and nostalgia, people try to remember the old thing. But for us to be able to actually go into those buildings, it was fascinating that you have a really diverse set of people — and America's an incredibly diverse country — and all of these people had one thing in common: the floor plan of their businesses were exactly the same. And it was kind of odd. A few months into filming, we'd be walking into like the fifth Pizza Hut and there'd be this weird déjà vu that would kick in — and I'd be like 'ohh, in Colorado, they put the door over that side, but I see you guys put it over here'. And there's this one bit where some of the old Pizza Huts, they always leak in the same spot — and they all go 'oh yeah, the leak'. Maybe there's something comforting in knowing that people around the world might have a common experience with you, even though you will never meet them. So that was very powerful for us." On the Research Process and Criteria for Picking the Former Pizza Huts Featured Matthew: "There were a couple that we'd heard about. You start Googling, and lots of people have documented a lot of these old buildings. But only the building. It was hard to know anything more about it. So we'd start with that process — it just started with conversations." Rose: "I would dive in and take a look at a business. You can tell a lot from their social media and things like that. You can tell when a place is a community hub, and they were the places we were looking for. And honestly, I would just shoot them a message or an email, and get on the phone and chat. I remember we called the owner of the Bud Hut in Colorado, and we talked to her for I think two hours. She was just so clearly so passionate and cared so much about her community, and we were like, 'well, that's an instant yes'." Matthew: "This is something that we've always believed as a core part of the films we make, that everyone's got an interesting story to tell. So in a way, I wasn't even really worried, because I'm like 'well, everyone's got an interesting story to tell'. Our job is to listen and find those stories. We try not to have too many preconceptions. We had ideas — as soon as we heard that there was a church down in Florida, we're like 'well that sounds amazing'. So there's ones like that. One of the interesting ones was Taco Jesús, a Taco restaurant in in Lynchburg, Virgina — not necessarily a place known for its Mexican cuisine. But funnily, that restaurant didn't even exist when we started shooting the movie. We only shot that a few months ago because we were looking back over some notes, and one of them was something that was closed down." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I have a list of addresses and every few months I would sweep through them just to see if a new place had popped up. I was looking at this place in Lynchburg, Virginia, which, after it was a Pizza Hut, it was a another pizza restaurant — and I noticed they were permanently closed. And I was like 'that's interesting, I wonder who's going in there?'. I did a little online research and realised it was going to be this brand-new taco restaurant, and it looked beautiful." Matthew: "I think we saw a story that Jesús and his father-in-law were running it together, and I'm like 'there's a story that'. Then just your journalistic instincts kick in and you go 'oh, there's something interesting there'. I think, to be honest, as we spoke to people, it confirmed more than anything that all these are really fascinating stories that we have to capture." Rose: "There'll always be a few on the wishlist that we didn't get to, mainly just because we felt like we had a complete film. But there's always be the long list of places that maybe we could have visited — like there is a funeral home in Texas which would have been pretty interesting." Matthew: "There's actually two." Rose: "We could've kept filming forever." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "It's interesting when we talk about when you're completely independent and you've got to do it yourself, how do you get started — but how do you finish? That's almost as much the challenging question and it's usually, with us, through exhaustion. Usually it's desperately editing into the night. I remember with We Don't Deserve Dogs and a little bit with this film, you just stop eventually and go 'I think the movie is finished'. And you almost don't want to admit it's finished, because then you've got to work out what to do next. You've got to distribute and market the film, and all the rest of it. But this one was definitely one where we had a lot of the film down, and then we took a bit of a break. Then we went and filmed with Taco Jesús, and we just slotted that in." Rose: "It was the missing thing." Matthew: "It was the different side of the story that brought it all together. So it's nice, it's been a lot of fun, because at the moment we're doing all the technical stuff, the sound and the music and all of that, and it's really lovely to be able polish up this thing that we've been putting together for a few years now." On What You Learn About the US Today on a Cross-Country Road Trip That Examines How an Incredibly Nostalgic Symbol Has Been Reborn Rose: "I think we managed to capture a pretty hopeful version of humanity. I'd like to think that. I think you realise that if you watch the news a lot …" Matthew: "Which we all do." Rose: "… which everybody does, there's maybe an impression of America and what middle America is like, and I think we wanted to challenge that expectation a little bit. There definitely are, I think, more good people than bad everywhere we went. We were met with open arms in communities of all shapes and sizes and political persuasions." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And we're just a bunch of hipsters from New York, so they should be very guarded. But no, to be serious, I think it's this thing where we came in to listen and hear their story, and so we didn't come in with this ulterior motive of 'we want to set up the story'. That's been a really important thing about the films we do. We film with multiple subjects, multiple locations and people, and we don't have this scribbled-out script that we want to fit. We go where the story takes us. If the story revealed a much angrier America, then we would have gone 'okay, well, what is that story?'. But for us, everyone was quite hopeful, quite proud — quite proud of being American, quite proud of their entrepreneurial side — which, by focusing just on that, was really interesting. We had this criteria for this movie: we want to meet people from all across America, but they have to be operating out of an old Pizza Hut restaurant. That limits you a little bit, and yet we found such diversity, such different people, different opinions, different lives, different stories. So it was nice, even with such limitations on your sample size, you can still find a very diverse America." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I think Mark from the Yupp's Karaoke in Fort Worth, Texas, puts it best: 'our diversity is our strength'. And this is coming from a bartender in Fort Worth, Texas. It's pretty beautiful stuff. " Matthew: "I must admit that Yupp's Karaoke Bar was a lot of fun to film." Rose: "It was raging on a Tuesday night. It was just packed. And from what I understand, they now have lines on Saturdays — you can't get in. They are going absolute gangbusters." Slice of Life: The American Dream. In Former Pizza Huts. premieres at SXSW Sydney 2024, which runs from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details.
Much-loved North Shore bistro Loulou has landed across the harbour with a stylish new outpost set above Martin Place Metro. The latest opening from fast-growing hospitality group Etymon (The Charles, Poetica) exudes the same relaxed elegance as the Milsons Point original, this time tailored to the pace and polish of a CBD crowd. Spread across two levels with seating for 175, the expansive new venue — located next door to grab-and-go sibling Petit Loulou — balances classic bistro charm with modern polish. Think: smartly upholstered banquettes, stone, timber and cork textures, and a shimmering silver ceiling downstairs that nods to the slicker pace of the city. Designed by Darlinghurst studio Tom Mark Henry, the space easily transitions from a breezy, sun-washed dining room by day to a moody boîte by night across three distinct areas: an upstairs oyster and wine bar anchored by a striking marble bar, a more intimate dining room below, and streetside tables perfect for people-watching with a glass of wine in hand. [caption id="attachment_1014834" align="alignnone" width="1920"] Steven Woodburn[/caption] The all-day menu stays true to Loulou's brand of refined yet approachable French fare. The CBD spot opens from 7am on weekdays, meaning early risers can drop in for the likes of caramelised brioche with berries and fromage blanc or sourdough crumpet topped with chèvre and avocado — ideal for a bloody mary-backed breakfast meeting. Lunch and dinner are centred around bistro staples and Loulou favourites like fruits de mer, John Dory in sauce champagne and steak frites with a three-day pepper sauce. A new addition, the Sandwich Américain — a steak frites baguette served exclusively at lunch — takes care of any cravings on the go. The drinks program is equally sharp. Alongside a tight cocktail list — which includes lesser-seen classics like the grasshopper and ramos gin fizz — there's a 350-strong wine list with a strong French focus that straddles the fence between adventurous and accessible, with a nice spread available by the glass and a handful by the half-bottle, too. The after-work crowd is looked after with a dedicated happy hour, L'Apéro, from 4–7pm. Stop by for $2 oysters and escargots, mini martinis and Loulou's signature kir royale for $13 and $18 cheeseburgers with frites. [caption id="attachment_1014828" align="alignnone" width="1920"] Steven Woodburn[/caption] Top images: Steven Woodburn.
Anyone who's visited the bright lights of Burwood Chinatown will know it's as much a feast for the eyes as it is for the belly. That same neon-powered, eye-popping, multi-coloured aesthetic is also on display at Spicetown Leichhardt, the new multi-cultural dining destination by the Burwood Chinatown team in the Inner West. While the suburb has long been known as Sydney's unofficial Little Italy, Leichhardt will now be a major drawcard for diners with a more pan-global palate, thanks to this hawker-style food court that has reinvigorated the long-dormant Leichhardt Hotel on Norton Street. More than 20 vendors are serving up tasty bites from around the world, from Turkish kebabs to freshly steamed dumplings, Afghani appetisers to Japanese desserts. The former pub, which had been abandoned for more than a decade, is now unrecognisable, thanks to Spicetown's vibrant signature look, also on display at its pop-up market cousin, Spicetown Sefton. A feature unique to Leichhardt's Spicetown, however, is the Cosmos Bar, a mezzanine drinking den overlooking the hustle and bustle of the food court below. With Norton Street already under consideration to become one of Sydney's new Special Entertainment Precincts, the arrival of Spicetown Leichhardt, which operates until 11pm Thursday–Sunday, is a shot in the arm for the area's nightlife as well as its dining scene.
There's no need to choose between frozen yoghurt or gelato when FREO is within reach. Luckily, this premium purveyor has just launched a new flagship shop in Darling Square, making it even easier to get your hands on a refreshing treat. Now with three stores spread across Sydney, the latest spot makes your in-store visit better than ever, with even more options to craft your dream combination of Asian-inspired flavours, sauces and toppings. Launched by a quartet of industry veterans, including two-hatted chef Federico Zanellato (LuMi Dining, Lode Pies & Pastries), FREO's Darling Square locale features indoor and outdoor seating for up to 30 people. Decked out in the brand's soft purple theme, you'll feel comfortable preparing a sweet treat to-go before catching up with friends and exploring the heart of the city. "Darling Square is the perfect location for FREO – a place we've always dreamed of having the flagship store," says Zanellato. "It's a vibrant, interactive environment where you can create something truly unique and enjoy it with friends and family. We're excited to share this new chapter with our community in such an exciting and dynamic location." With more than enough room to spread out, this larger space has also allowed FREO to expand its range of flavours and toppings. With 10 flavours pouring every day, some of the must-taste creations include Japanese strawberry, mango and passionfruit, and taro. Made fresh daily using 100% pot-set yoghurt, FREO's use of premium ingredients results in a super creamy, tangy base primed for sweet accoutrements. Casting your gaze over the DIY topping bar, it's easy to get lost in the 45 add-ons. Ranging from decadent to healthy, sauces like Callebaut chocolate, melted Lotus Biscoff and Nutella on tap are some of your richer options. Also available is a selection of mochi, fresh fruit, seasonal items and even FREO's exclusive baked goods. Discovering the best combinations is all part of the fun. Yet FREO offers more than just froyo. Guests can opt for silky smooth express gelato, featuring flavours like Sicilian pistachio with sea salt, Rindo matcha, Japanese black sesame with bamboo charcoal, and caffe latte and kuromitsu sugar syrup. For plant-based pals, choice treats like Belgian dark chocolate, watermelon and yuzu, and premium açaí ensure loading up an unforgettable cup is made simple. FREO is open Sunday–Thursday from 11am–10.30pm and Friday–Saturday from 11am–11pm at 5 Little Hay Street, Haymarket. Head to their Instagram for more information. Images: Kera Wong.
Buckets of lilac hydrangeas, peach colombian roses and tubs of aromatic rosemary stand proud outside this Glebe Point Road store, which grabs your attention from across the street. This local florist has 25 years of experience serving passersby with freshly cut flowers to take back to their homes, or a potted plant to brighten up an office desk. The store is brimming with such reasonably priced blooms that if you're there to pick up a gift, it's likely you'll add a cluster of lavender or a single protea to your order especially for you. [caption id="attachment_776151" align="alignnone" width="1920"] Cassandra Hannagan[/caption] Head right into the back of the store for a shelf of nonliving gifts, such as soaps and candles from the French brand Sea Salt or hand creams from Panier Des Sens. There's a wall of greeting cards with Aussie themed fauna, which make for a quick add-on purchase when you're shopping for colleagues or last-minute thank yous. And if you can't make it to the store, they're more than happy to arrange for local deliveries.
Put on your toques and gather your loonies — the Stuffed Beaver is serving up classic Canadian fare on bustling Bondi Road. Vancouver-born Brody Petersen has been dishing up his 'Dam Menu' since 2011. There's wooden booths reminiscent of a wintery ski lodge, vintage Canadian memorabilia on the walls, a game of football on the TV plus a perfectly cheesy poutine — any expat will feel right at home and us locals will feel just like we've visited. When you think of North American food, you think of burgers, fries, hot-dogs and deep-fried everything. The Stuffed Beaver delivers all of the above, with a Canadian spin of course. The classic poutine (fries with gravy and melted cheese curds) is as authentic as those French-Canadians make it and just as indulgently satisfying ($14.99). The beef burgers are made fresh every day with Black Angus beef served on a soft brioche bun. Try the Dam Beaver burger ($10.99), beef stuffed with melted blue cheese, or the John Candy combo ($15.99), crispy fried jack cheese, bacon and pickles. The Burgenhausen ($12.99), sweet pulled pork, candied apple and sour cream, is a definite hole-filler. No matter what main you get, you've gotta try the deep-fried pickles ($6.99). Beer battered pickle spears that are deep fried for that crunchy, greasy taste that only North American food can deliver. Canadians like to drink, so it's fair to say the bar is well stocked. If you're a Bloody Mary fan, the Bloody Caesar is the Canadian version ($16.99), the addition of Clamato juice (Clam and tomato juice) and a briny pickle spear gives it its North American authenticity. And whatever you do, don't leave until you've had a shot of Fireball whisky. Super sweet cinnamon whisky that'll warm the cockles of any sceptic's heart. The Stuffed Beaver's name isn't just a nod to its northern icons but a prophetic glimpse as to how you'll feel after a fun night eating and drink here. The North American food is heavy but oh-so-satisfying and with its affordability, cool Bondi location and friendly, relaxed staff, it's the perfect place to get stuffed, eh?
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. GOOD LUCK TO YOU, LEO GRANDE People have orgasms every day, but for decades spent closing her eyes and thinking of England in a sexually perfunctory marriage, Good Luck to You, Leo Grande's lead character wasn't among them. Forget la petite mort, the French term for climaxing; Nancy Stokes' (Emma Thompson, Cruella) big wrestling match with mortality, the one we all undertake, has long been devoid of erotic pleasure. Moments that feel like a little death? Unheard of. That's where this wonderfully candid, intimate, generous and joyous sex comedy starts, although not literally. Flashbacks to Nancy enduring getting it over with beneath her now-deceased spouse, missionary style, aren't Australian filmmaker Sophie Hyde (Animals) or British comedian-turned-screenwriter Katy Brand's (Glued) concern. Instead, their film begins with the religious education teacher waiting in a hotel room, about to take the biggest gamble of her life: meeting the eponymous sex worker (Daryl McCormack, Peaky Blinders). For anyone well-versed in Thompson's prolific on-screen history, and of Brand's work before the camera as well, Good Luck to You, Leo Grande inspires an easy wish: if only Nancy had a different job. Back in 2010, the pair co-starred in Nanny McPhee and the Big Bang, a title that'd also fit their latest collaboration if its protagonist cared for kids rather than taught them. Jokes aside, the instantly charming Leo is used to hearing that sentiment about his own professional choices. Indeed, Nancy expresses it during their pre- and post-coital discussions, enquiring about the events that might've led him to his career. "Maybe you're an orphan!" she says. "Perhaps you grew up in care, and you've got very low self-esteem," she offers. "You could have been trafficked against your will — you can't tell just by looking at somebody!" she continues. There are plenty of "if only" thoughts and feelings pulsating through Good Luck to You, Leo Grande, a film where its namesake's tongue couldn't be more important — yes, in that way, and also because talk is as crucial as sex here. If only Nancy hadn't spent half of her existence in a pleasure-free marriage. If only a lifetime of being middle class and socially conservative, and of internalising Britain's stereotypical 'keep calm and carry on' mentality, hadn't left her adrift from her desires. If only being a woman in her mid-50s wasn't seen as a libidinous void by society at large, a mindset that's as much a part of Nancy as the wrinkles and ageing body parts she can barely look at in the mirror. If only prioritising her sensual needs wasn't virtually taboo, too, especially in her mind — even after, two years since being widowed, she's booked an expensive rendezvous with Leo. Good Luck to You, Leo Grande unpacks those if onlys — not the Nanny McPhee one, obviously, but the idea that Nancy's life is immovably stuck in the same rut it has always been. As played by Thompson at the height of her acting powers, at her absolute splintery, finicky yet vulnerable best even with Last Christmas, Years and Years, Late Night and The Children Act on her recent resume, she's nervous, anxious, uncertain and always on the cusp of cancelling, including once Leo strolls into the room, beams his easy magnetism her way and starts talking about what she wants like it's the most natural thing in the world. Slipping into the sheets and knowing what excites you is the most natural thing in the world, of course, but not to Nancy. As her four appointments with Leo progress, she comes up with a lineup of carnal acts she'd like to experience — and she may as well be reading from her grocery list. But getting her to shed her inhibitions is as much his focus as shedding her clothes, and the twentysomething won't let Nancy keep getting in the way of herself. Read our full review. CRIMES OF THE FUTURE It takes a brave filmmaker to see cancer and climate change, and think of art, evolution and eroticism in a possible future. It takes a bold director to have a character proclaim that "surgery is the new sex", too. David Cronenberg has always been that kind of visionary, even before doing all of the above in his sublime latest release — and having the Scanners, Videodrome and The Fly helmer back on his body-horror bent for the first time in more than two decades is exactly the wild and weird dream that cinephiles want it to be. The Canadian auteur makes his first movie at all since 2014's Maps to the Stars, in fact, and this tale of pleasure and pain is as Cronenbergian as anything can be. He borrows Crimes of the Future's title from his second-ever feature dating back 50-plus years, brings all of his corporeal fascinations to the fore, and moulds a viscerally and cerebrally mesmerising film that it feels like he's always been working towards. Long live the new flesh, again. Long live the old Cronenberg as well. In this portrait of a potential time to come, the human body has undergone two significant changes. Three, perhaps, as glimpsed in a disquieting opening where an eight-year-old called Brecken (debutant Sotiris Siozos) snacks on a plastic bin, and is then murdered by his mother Djuna (Lihi Kornowski, Ballistic). That incident isn't unimportant, but Crimes of the Future has other departures from today's status quo to carve into — and they're equally absorbing. Physical agony has disappeared, creating a trade in "desktop surgery" as performance art. Also, a condition dubbed Accelerated Evolution Syndrome causes some folks, such as artist Saul Tenser (Viggo Mortensen, Thirteen Lives), to grow abnormal organs. These tumours are removed and tattooed in avant-garde shows by his doctor/lover Caprice (Léa Seydoux, No Time to Die), then catalogued by the National Organ Register's Wippit (Don McKellar, reteaming with Cronenberg after eXistenZ) and Timlin (Kristen Stewart, Spencer). When Crimes of the Future stages one of Saul and Caprice's gigs, it drips not with blood but spectacle and seduction. Indeed, it's no wonder that a curious Timlin utters that catchy observation about medical slicing and intimate arousal shortly afterwards. Alluring, eerie, grotesque and enthralling — and the epitome of the feature's sparse yet entrancing look and mood in the process — it's a powerhouse of a scene, with a self-autopsy pod at its centre. Saul lies still, Caprice uses an eXistenZ-esque fleshy video-game controller to get the contraption cutting, and an enraptured audience hang on every incision. Saul and Caprice do, too, although their visibly aroused reactions have nothing on their time later in the suite alone. (Cronenberg does love eschewing traditional ideas about what titillates; see also: his 1996 film Crash, about characters excited by car crashes. It's a clear precursor to this, and the movie that purred so that 2021 Palme d'Or winner Titane, by filmmaker Julia Ducournau, could rev.) Crimes of the Future's scalpel-equipped coffin is just one of Saul and Caprice's Lifeform Ware gadgets; if eXistenZ, Naked Lunch and Dead Ringers procreated, these are the devices the three flicks would spawn. HR Giger could've conjured them up as well, and thinking of the biomechanical artist's contribution to Alien, which saw him share an Oscar for visual effects, is as natural as feeling spellbound and perturbed by Cronenberg's movie in unison. This is a grimy world where a bed covered with skin and tentacles floats in Saul's home, calibrated to cater to his "designer cancer"-riddled body's needs as it slumbers — and where a chair that looks like a skeleton reassembled as furniture contorts Saul as he's eating, something he is having increasing trouble with otherwise. In other words, it's a world where the old flesh isn't doing what it always has, new flesh is sprouting in a changing and devastated reality, and technology fills in the gaps as it is always designed to. Read our full review. BOSCH & ROCKIT Remember the name Rasmus King. Based on 2022's slate of Australian films and television shows, that shouldn't be hard. The Byron Bay-born newcomer hadn't graced a screen, large or small, before this year — and now he has no fewer than four projects pushing him into the spotlight before 2023 arrives. Most, including surfing TV drama Barons, capitalise upon the fact that he's a pro on the waves IRL. Two, 6 Festivals and the upcoming sci-fi featurette What If The Future Never Happened?, get his long blonde locks whipping through the Australian music scene. The latter is based on Daniel Johns' teenage years, actually, and has King playing that pivotal part. If he's half as impressive in the role as he is in father-son drama Bosch & Rockit, Silverchair fans will have plenty to look to forward to. When writer/director Tyler Atkins opens his debut feature, it's in the late 90s, along Australia's east coast, and with King as eager surfer Rockit — son to weed farmer Bosch (Luke Hemsworth, Westworld). Sometimes, the titular pair hit the surf together, which sees Rockit's eyes light up; however, Bosch is usually happy tending to his illicit business, making questionable decisions, and coping with splitting from his son's mother Elizabeth (Leeanna Walsman, Eden) with the help of other women. Then a couple of unfortunate twists of fate upend Rockit's existence, all stemming from his father. Begrudgingly, Bosch is pushed into stepping outside his drug-growing comfort zone by an old friend-turned-cop (Michael Sheasby, The Nightingale) and his corrupt partner (Martin Sacks, Buckley's Chance). When a bushfire sweeps through the region shortly afterwards, he's forced to go on the run to stay alive. Bosch & Rockit approaches Bosch's absconding from Rockit's perspective, adopting the line that the former gives his boy: that they're going to Byron for an extended holiday. Atkins doesn't feed the same idea to its audience, but ensures that viewers understand why a bright-eyed teenager would take his dad at his word — not just because he doesn't know what Bosch does for a living, which he doesn't; or he's naïve, which he is; but also because he's eager to hang onto his biggest dream. There's sorrow in King's spirited performance, with Rockit more affected by his parents' split, bullying at school and the isolation that comes with finding solace in the sea, usually alone, than Bosch has the shrewdness to spot. There's earnestness as well, because what struggling kid who's desperate for the kind of love that genuine attention signifies, as Rockit visibly is, won't blindly believe whatever fantasy their dad or mum sells them for as long as possible? King does a magnetic job of conveying Rockit's inner turmoil, and expressing his uncertainty, too. There's an effortlessness to his portrayal, whether Rockit is lapping up Bosch's presence like a plant swaying towards the sunlight, listlessly left to his own devices when his dad decides he'd rather chase Byron local Deb (Isabel Lucas, That's Not Me), or finding a kindred spirit in Ash (Savannah La Rain, Surviving Summer), another restless and yearning teen vacationing under less-than-ideal circumstances and feeling like she's alone in the world. Avoiding formulaic plotting isn't Bosch & Rockit's strong suit, however, as the film makes plain at every turn. That's evident in both of its namesakes' trajectories, for starters — with Bosch a small-time crim falling afoul of the wrong people, with help from bad luck, then trying to start anew; and Rockit an innocent kid stuck with subpar parents, forced to grow up faster than he should, but hanging onto whatever he can. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on May 5, May 12, May 19 and May 26; June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28, and August 4 and August 11. You can also read our full reviews of a heap of recent movies, such as Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess and 6 Festivals.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=ngy7grwzFTw NOBODY As both a comedian and a dramatic actor, Bob Odenkirk has earned a lifetime's worth of well-deserved praise. Writing for Saturday Night Live and starring in Mr Show with Bob and David each sit on his resume, as does his pivotal part in Breaking Bad and lead role in the exceptional Better Call Saul. But in Nobody, Odenkirk highlights a facet of his work that's easy to overlook. Jumping into a new genre, he makes viewers realise a truth that cuts to the heart of his talents. Every actor wants to be the person that can't be replaced, and to turn in the type of performances that no one can emulate; however, only the very best, including Odenkirk, manage exactly that. A movie so forged from the John Wick mould that it's penned by the same screenwriter — and boasts the first film's co-director David Leitch (Atomic Blonde) as a producer, too — Nobody could've featured any existing action go-to. It could've been an easy knockoff of well-known hit, joining the swathe of direct-to-video and -streaming titles that use that very template. It could've given Bruce Willis his next role to sleepwalk through, added yet another Taken-style thriller to Liam Neeson's resume or proven one of Nicolas Cage's more straightforward vehicles of late. Thankfully, though, Nobody is all about the ever-watchable Odenkirk and his peerless and compelling ability to play slippery characters. When Nobody begins, Hutch Mansell's (Odenkirk) life has become such a routine that his weeks all unfurl in the same fashion. Plodding through a sexless marriage to real estate agent Becca (Connie Nielsen, Wonder Woman 1984), and barely paid any notice by his teenage son Blake (Gage Munroe, Guest of Honour) and younger daughter Abby (debutant Paisley Cadorath), he catches public transport to his manufacturing company job every weekday, always puts the bins out too late for the garbage truck on Tuesday mornings, and usually earns little more than polite smiles from his family while he's cooking them breakfast that they fail to eat. Then, the Mansells' suburban home is randomly burgled. Hutch confronts the thieves in the act, has a chance to swing a golf club their way, yet holds back. But when Abby notices that her beloved cat bracelet is missing in the aftermath, he decides to take action — a choice that leads him to an unrelated bus filled with obnoxious guys hassling a female passenger, and eventually sees unhinged Russian mobster Yulian Kuznetsov (Aleksey Serebryakov, Leviathan) threatening everything that Hutch holds dear. Read our full review. https://www.youtube.com/watch?v=g0ox9ExOA1M&feature=youtu.be THE FATHER Forgetting, fixating, flailing, fraying: that's The Father. Anthony's (Anthony Hopkins, Westworld) life is unravelling, with his daughter Anne (Olivia Colman, The Crown) springing the sudden news that she's about to move to Paris, and now insistent that he needs a new carer to replace the last home helper he's just scared off. He also can't find his watch, and time seems to jump suddenly. On some days, he has just trundled out of bed to greet the morning when Anne advises that dinner, not breakfast, is being served. When he brings up her French relocation again, she frostily and dismissively denies any knowledge. Sometimes another man (Mark Gatiss, Dracula) stalks around Anthony's London apartment, calling himself Anne's husband. Sometimes the flat isn't his own at all and, on occasion, both Anne (Olivia Williams, Victoria and Abdul) and her partner (Rufus Sewell, Judy) look completely different. Intermittently, Anthony either charms or spits cruel words at Laura (Imogen Poots, Black Christmas), the latest aide hired to oversee his days. She reminds him of another daughter, one he's sure he had — and preferred — but hasn't heard from for years. When he mentions his other offspring, however, everyone else goes silent. More than once, Anthony suspects that someone has pilfered his beloved timepiece, which just keeps disappearing. Largely, The Father remains housebound. For the bulk of its 97 minutes, it focuses on the cardigan-wearing Anthony as he roams around the space he calls home. But this is a chaotic film, despite its visual polish, and that mess, confusion and upheaval is entirely by design. All the shifting and changing — big and small details alike, and faces and places, too — speak to the reason Anne keeps telling Anthony they need another set of hands around the house. His memory isn't what it used to be. In fact, it's getting much worse than that. Anthony knows that there's something funny going on, which is how he describes it when his sense of what's happening twists and morphs without warning, and The Father's audience are being immersed in that truth. Anthony has dementia, with conveying precisely how that feels for him the main aim of this six-time Oscar-nominated stage-to-screen adaptation. As overwhelming as The Father can be as it wades through Anthony and Anne's lives, its unflinching and unsparing approach is anchored in kindness and compassion, which novelist and playwright turned first-time director Florian Zeller has brought to the screen in a stunning fashion from Le Père, his own play. Read our full review. https://www.youtube.com/watch?v=0Bb2d6DVY28 THE COURIER In 1960, in the thick of the Cold War, British businessman Greville Wynne was recruited by MI6. Chosen because he frequently travelled to Eastern Europe for work — and also because he wouldn't stand out in general — he was asked to visit Moscow numerous times, then return with information about the Soviet nuclear program as supplied by a contact within the Russian government. That's the true tale that The Courier explores, and it's an intriguinng one. Working together until around the time of the Cuban Missile Crisis in October 1962, Wynne and Oleg Penkovsky, his source, helped change the course of history. And yet, in a film that looks backwards not just for its content but also in its old-school style, director Dominic Cooke (On Chesil Beach) and screenwriter Tom O'Connor (The Hitman's Bodyguard) seem to have taken the wrong cue from the story they're telling. As everything from years of Bond flicks to Tinker Tailor Soldier Spy and Bridge of Spies have shown, Cold War spy movies have comprised their own genre for decades. The Courier knows this, and remains happy to blend in among its peers. It's solid but straightforward, always proving just engaging and rousing enough. It also boasts an excellent performance from Benedict Cumberbatch in his latest historical drama (see also: The Imitation Game and The Current War), but this espionage thriller still has less of an impact than it should. Indeed, Cumberbatch's efforts as an ordinary man in an extraordinary situation rank among The Courier's biggest highlights, alongside the real-life details it delves into. He's calm, flattered and even a little perplexed in early scenes, as Wynne is asked by the CIA's Emily Donovan (Rachel Brosnahan, I'm Your Woman) and MI6's Dickie Franks (Angus Wright, Official Secrets) to do his country and the world a favour. Soon, Cumberbatch is both confident and jumpy as Wynne travels back and forth, strikes up a genuine friendship with Penkovsky (Merab Ninidze, Homeland) and tries to keep the reality of his trips from his increasingly suspicious wife Sheila (Jessie Buckley, Misbehaviour). And, later, he's vulnerable but still determined. He takes the feature's biggest theme — loyalty — firmly to heart, and ensures that it seeps from his pores whether Wynne is in an easy, tricky or brutal scenario. It's still impossible not to notice how standard and risk-averse almost everything around Cumberbatch is, though; however, The Courier is never plodding. Still, there's a difference between skewing classic to do a narrative justice and boxing a true story into a template, with this film frequently leaning more towards the latter than the former. https://www.youtube.com/watch?v=kP9TfCWaQT4 TOM & JERRY Before Itchy and Scratchy started terrorising each other well beyond the bounds of normal cat and mouse antagonism, another feline and rodent pair got there first. Of course, The Simpsons' adversarial four-legged critters were designed to parody the characters created by William Hanna and Joseph Barbera more than 80 years ago, but they've long since supplanted Tom and Jerry as popular culture's go-to fighting animal duo. Perhaps the new Tom & Jerry movie is an attempt to push its titular creatures back to prominence. Perhaps it's just the latest effort to cash in on nostalgia while hoping that a new generation of children will be interested enough to warrant more big-screen outings, and therefore more chances to make some cash. Watching this all-ages-friendly hybrid of cartoon and live-action, it doesn't seem as if anyone involved knows quite why the film exists — not director Tom Story (Ride Along and Ride Along 2), who cares more about stressing the feature's hip hop soundtrack than paying much attention to its eponymous figures; not screenwriter Kevin Costello (Brigsby Bear), who pens a dull and derivative script about celebrity wedding chaos; and definitely not a cast that spans Chloë Grace Moretz (Shadow in the Cloud), Michael Peña (Fantasy Island), Rob Delaney (Catastrophe), Ken Jeong (Boss Level), Colin Jost (Saturday Night Live) and Pallavi Sharda (Retrograde), all of whom will forever have this misfire on their resumes. The animated animal action starts with Tom's latest vendetta against his long-time rival Jerry, after the latter destroys the former's keyboard and his music stardom dreams along with it. In his quest for revenge, the cat follows the house-hunting mouse to his newest abode at Manhattan's upmarket Royal Gate hotel, where the pair soon wreak havoc. Story and Costello prefer to focus on the resourceful and human Kayla (Moretz) at almost every turn, though. After talking her way into a job onsite, she's soon given two important tasks. The first: help ensure that the nuptials of two nondescript celebs (Jost and Sharda) go smoothly, which of course doesn't happen. The second: track down Jerry, which involves hiring Tom to assist. Somehow, Tom & Jerry is both lazy and overcomplicated. It does the bare minimum with its flesh-and-blood and pixel characters alike, all while completely forgetting that viewers have always loved Tom and Jerry for its fast, smart and entertaining slapstick antics (and definitely not because one day the duo might become bit-players in yet another flick about bland wedding dramas). When the film starts with pigeons rapping A Tribe Called Quest's 'Can I Kick It?' in its entirety, it begs an obvious question: who is this for? No one that's brought this movie to fruition seems to know the answer there, either — and they certainly haven't expended any energy on trying to make the feature funny, because laughs are absent from start to finish. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11, March 18 and March 25. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong and The Painter and the Thief.
When the ABC announced that Spicks and Specks would return in 2024 after sitting 2023 out, it was big news, as anything to do with the hit Australian take on the UK's Never Mind the Buzzcocks always is. IRL, here's something just as exciting: the Brisbane-born and -based Not On Your Rider is also back for this year, although it didn't take a year off. On the agenda: playing a music quiz show filled with well-known faces live — and yes, the audience gets to play, too, including in Sydney in May. You'll be peering at a stage, rather than a screen. You'll be answering questions, of course. And if it has you thinking about pub trivia nights, they don't include The Creases' Aimon Clark — who is also behind Isolation Trivia — hosting, or Patience Hodgson from The Grates and Jeremy Neale from Velociraptor captaining the two teams, let alone a heap of entertainment-industry guests. At past events, guests have included Murray Cook from The Wiggles, Broden Kelly and Mark Samual Bonanno from Aunty Donna, Boy Swallows Universe author Trent Dalton, Agro, Cal Wilson, Ben Lee, Steven Bradbury, Kate Miller-Heidke, Robert Irwin, Ranger Stacey, Craig Lowndes and Tim Rogers. Among the other musicians who've featured, Powderfinger, Dune Rats, DZ Deathrays, Ruby Fields, Ball Park Music, The Jungle Giants and The Go-Betweens have all had members take to the stage. Sydneysiders can join in on one 2024 date: Sunday, May 5 at Factory Theatre. The event is coming to town for the Sydney Comedy Festival. Here's how it works: Not On Your Rider takes something that everyone loves — showing off their music trivia knowledge — and dials it up a few notches. While the two on-stage teams are always filled with musos, comedians, drag queens and other guests, anyone can buy a ticket, sit at a table and answer questions along with them. The quiz element is accompanied by chats about the music industry, plus other mini games involving attendees. Images: Dave Kan / Bianca Holderness.
They say home is where the heart is, but sometimes the task of transforming a basic rental into a place you truly love can be a battle. You can't jazz it up with wallpaper or a lick of paint or tear up that hideous lino — it's a far cry from your wildest Grand Designs dreams. The good news is that even the blandest of apartments can become an inspiring canvas for your interior stylings — think feature pieces and flourishes, beautiful embellishments and stylish upgrades to elevate your basics. All these little touches come together to make a rental house a home. We've teamed up with American Express to give you a head start, curating the perfect collection of items to upgrade your pad.
Surfers may flock to Sydney's sandy suburbs while leaf-lovers stick to the city's best parks, but locals wanting the best of both worlds will head to Randwick. This easy-breezy 'burb is perfectly positioned between Centennial Park and the eastern suburbs' fantastic stretch of coastline for residents and visitors to enjoy the best of the city in one spot. At its heart is the long-standing Ritz Cinema and its impressive art deco facade, and a clutch of well-kept cafes, restaurants, bars and specialised shops. In partnership with American Express, we've found a Randwick spot that'll hit the mark on every occasion, whether you're catching up with a group of old mates or refurbishing your pad.
MasterChef Australia may have finished for another season, but culinary inspiration can hit at any moment. When you get the urge to throw an apron and make a mess in the kitchen, the first thing to do is stock up on ingredients. Unfortunately, not all food shops are created equal — a truth that becomes increasingly apparent when you're wandering the aisles of a major supermarket searching in vain for some obscure spice or cut of meat. Fortunately for you, Sydney has a collection of boutique food stores that will have you cooking up a storm in no time. In celebration of Shop Small, we've teamed up with American Express to track down the neighbourhood stores that'll help you impress at your next dinner party or casual picnic. These seven shops stock everything you'll need: artisanal French cheeses, smoked Spanish deli ham, Italian olives, sourdough and fruit and veg fresh from Australian farms. Even better, they all accept American Express Cards so, on top of supporting local businesses, you'll also reap the rewards of being a Card Member.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DRIVE MY CAR More than four decades have passed since Haruki Murakami's debut novel reached shelves, and since the first film adaptation of his work followed, too; however, the two best page-to-screen versions of the author's prose have arrived in the past four years. It's easy to think about South Korean drama Burning while watching Drive My Car, because the two features — one Oscar-shortlisted, the other now the first Japanese movie to be nominated for Best Picture — spin the writer's words into astonishing, intricately observed portraits of human relationships. Both films are also exceptional. In the pair, Murakami's text is only a starting point, with his tales hitting the screen filtered through each picture's respective director. For Drive My Car, Japanese filmmaker Ryûsuke Hamaguchi does the honours, taking audiences riding through another of the Happy Hour, Asako I & II and with Wheel of Fortune and Fantasy helmer's layered, thoughtful and probing reflections on connection. Using Murakami's short story from 2014 collection Men Without Women as its basis, Drive My Car's setup is simple. Yes, the film's title is descriptive. Two years after a personal tragedy, actor/director Yūsuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to bring Chekhov's Uncle Vanya to the stage in Hiroshima, and the company behind it insists on giving him a chauffeur for his stay. He declines— he'd asked to stay an hour away from the theatre so he could listen to recorded tapes of the play on his drive — yet his new employers contend that it's mandatory for insurance and liability reasons. Enter 23-year-old Misaki Watari (Tôko Miura, Spaghetti Code Love), who becomes a regular part of Yūsuke's working stint in the city. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours. It doesn't rush to get to its basic premise, either. Before the film's opening credits arrive 40 minutes in, it steps through Yūsuke's existence back when he was appearing in a version of Uncle Vanya himself, married to television scriptwriter Oto (Reika Kirishima, Japanese TV's Sherlock) and grappling with an earlier heartbreak. His wife is also sleeping with younger actor Takatsuki (Masaki Okada, Arc), which Yūsuke discovers, says nothing about but works towards discussing until fate intervenes. Then, when he sits in his red 1987 Saab 900 Turbo just as the movie's titles finally display, he's a man still wracked by grief. It's also swiftly clear that he's using his two-month Hiroshima residency as a distraction, even while knowing that this exact play — and Oto's voice on the tapes he keeps listening to — will always be deeply tied to his life-shattering loss. This prologue does more than set the scene; there's a reason that Hamaguchi, who co-wrote the screenplay with Takamasa Oe (The Naked Director), directs so much time its way. Where tales of tragedy and mourning often plunge into happy lives suddenly unsettled by something catastrophic or the process of picking up the pieces in the aftermath — typically making a concerted choice between one or the other — Drive My Car sees the two as the forever-linked halves of a complicated journey, as they are. The film isn't interested in the events that've forever altered the plot of Yūsuke's life, but in who he is, how he copes, and what ripples that inescapable hurt causes. It's just as fascinated with another fact: that so many of us have these stories. Just as losing someone and soldiering on afterwards are unshakeably connected, so are we all by sharing these cruel constants of life. Read our full review. BENEDETTA What do two nuns in the throes of sexual ecstasy gasp? "My god" and "sweet Jesus", of course. No other filmmaker could've made those divine orgasmic exclamations work quite like Paul Verhoeven does in Benedetta, with the Dutch filmmaker adding another lusty, steamy, go-for-broke picture to his resume three decades after Basic Instinct and more than a quarter-century since Showgirls. His latest erotic romp has something that his 90s dives into plentiful on-screen sex didn't, however: a true tale, courtesy of the life of the movie's 17th-century namesake, whose story the writer/director and his co-scribe David Birke (Slender Man) adapt from Judith Brown's 1986 non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. For anyone that's ever wondered how a religious biopic and nunsploitation might combine, this is the answer you've been praying for. Frequently a playful filmmaker — the theories that Showgirls is in on its own joke keep bubbling for a reason — Verhoeven starts his first film since 2016's Elle with that feature's more serious tone. The screen is back, the words "inspired by real events" appear and the score is gloomy. When Benedetta's titular figure appears as a girl (played by Elena Plonka, Don't Worry About the Kids), she's the picture of youth and innocence, and she's also so devoted to her faith that she's overjoyed about joining a convent in the Tuscan village of Pescia. But then villains interrupt her trip, and this pious child demonstrates her favour with the almighty by seemingly getting a bird to shit in a man's eye. It isn't quite as marvellous as turning water into wine, but it's its own kind of miracle. As an adult (Virginie Efira, Bye Bye Morons), she'll talk to strapping hallucinations of Jesus (Jonathan Couzinié, Heroes Don't Die), too, and use her beloved childhood statuette of the Virgin Mary as a dildo. There is no line between the sacred and the profane in Benedetta: things can be both here, and frequently are. Case in point: on her first night at the convent, after a bartering session between her father (David Clavel, French Dolls) and the abbess (Charlotte Rampling, Dune) over the girl's dowry for becoming a bride of christ, a statue of the Virgin Mary collapses upon Benedetta, and she shows her sanctity by licking the sculpture's exposed breast. So, 18 years later, when she's both seeing Jesus and attracted to abused newcomer Sister Bartolomea (Daphné Patakia, Versailles), they're the most natural things that could happen. To Benedetta, they're gifts from god, too. She does try to deny her chemistry with the convent's fresh novice at first, but the lord wants what he wants for her. Unsurprisingly, not everyone in the convent — the abbess' daughter Sister Christina (Louise Chevillotte, Synonyms) chief among them — agrees, approves or in believes in her visions. Verhoeven puts his own faith in crafting a witty, sexy, no-holds-barred satire. That said, he doesn't ever play Benedetta as a one-note, over-the-top joke that's outrageous for the sake of it. His protagonist believes, he just-as-devoutly believes in her — whether she's a prophet, a heretic or both, he doesn't especially care — and he also trusts her faith in her primal desires. His allegiance is always with Benedetta, but that doesn't mean that he can't find ample humour in the film or firm targets to skewer. The hypocrisy of religion — "a convent is not a place of charity, child; you must pay to come here," the abbess advises — gets his full comic attention. Having the always-great Rampling on-hand to personify the Catholic Church at its most judgemental and least benevolent (at its money-hungry worst, too) helps considerably. Indeed, what the veteran English actor can do with a withering glare and snarky delivery is a movie miracle. Read our full review. DEATH ON THE NILE Some folks just know how to rock a moustache. When Kenneth Branagh (Tenet) stepped into super-sleuth Hercule Poirot's shoes in 2017's Murder on the Orient Express, he clearly considered himself to be one of them. The actor and filmmaker didn't simply play Agatha Christie's famously moustachioed Belgian detective, but also directed the movie — and he didn't miss a chance to showcase his own performance, as well as that hair adorning his top lip. You don't need to be a world-renowned investigator to deduce that Branagh was always going to repeat the same tricks with sequel Death on the Nile, or to pick that stressing the character's distinctive look and accompanying bundle of personality quirks would again take centre stage. But giving Poirot's 'stache its own black-and-white origin story to start the new movie truly is the height of indulgence. Branagh has previously covered a superhero's beginnings in the initial Thor flick, and also stepped into his own childhood in Belfast, so explaining why Poirot sports his elaborately styled mo — how it came to be, and what it means to him emotionally, too — is just another example of the director doing something he obviously loves. That early hirsute focus sets the tone for Death on the Nile, though, and not as Branagh and returning screenwriter Michael Green (Jungle Cruise) must've intended. Viewers are supposed to get a glimpse at what lies beneath Poirot's smarts and deductive savvy by literally peering beneath his brush-like under-nostril bristles, but all that emerges is routine and formulaic filler. That's the film from its hairy opening to its entire trip through Egypt. At least the moustache looks more convincing than the sets and CGI that are passed off as the pyramids, Abu Simbel and cruising the titular waterway. It's 1937, three years after the events of Murder on the Orient Express, and Poirot is holidaying in Egypt. While drinking tea with a vantage out over the country's unconvincingly computer-generated towering wonders, he chances across his old pal Bouc (Tom Bateman, Behind Her Eyes) and his mother Euphemia (Annette Bening, Hope Gap), who invite him to join their own trip — which doubles as a honeymoon for just-married heiress Linnet Ridgeway (Gal Gadot, Red Notice) and her new husband Simon Doyle (Armie Hammer, Crisis). Poirot obliges, but he's also surprised by the happy couple. Six weeks earlier, he saw them get introduced by Linnet's now-former friend and Simon's now ex-fiancée Jacqueline de Bellefort (Emma Mackey, Sex Education). That awkward history isn't easily forgotten by the central duo, either, given that Jackie has followed them with a view to winning Simon back. Boating down the Nile is initially an escape plan, whisking the newlyweds away from their obsessive stalker. But even as the group — which includes jazz singer Salome Otterbourne (Sophie Okonedo, Wild Rose), her niece and Linnet's school friend Rosalie (Letitia Wright, Black Panther), the bride's own ex-fiancé Linus Windlesham (Russell Brand, Four Kids and It), her lawyer Andrew Katchadourian (Ali Fazal, Victoria and Abdul), her assistant Louise Bourget (Rose Leslie, Game of Thrones), her godmother Marie Van Schuyler (Jennifer Saunders, Absolutely Fabulous: The Movie) and the latter's nurse Mrs Bowers (Dawn French, The Vicar of Dibley) — adjust to the change of schedule, two things were always going to happen. The pouty Jacqueline can't be thwarted that easily, of course. Also, the fact that there'll soon be a murder for Poirot to solve is right there in the movie's moniker. Read our full review. MARRY ME Romantic comedies are all about timing. Whoever pairs up in whichever film, they share moments: meeting-cute at just the right time, going on life-changing dates, coming to big realisations in tandem and such. Marry Me lives for those kinds of incidents, but the film's timing itself is also unfortunate. Based on Bobby Crosby's webcomic and subsequent graphic novel of the same name — with the former dating back to 2006 — it arrives on the big screen at a time when Starstruck has already delightfully riffed on Notting Hill's tale about an everyday person falling for someone super famous, and when reality TV's Married at First Sight has been making people who've just met get hitched since 2013 (and in versions made in multiple countries), too. If Marry Me managed to transcend its Starstruck/Notting Hill-meets-MAFS premise, it could reach cinemas whenever and it wouldn't matter; however, even Jennifer Lopez and Owen Wilson's charms can't make that happen. Releasing a rom-com starring Lopez and Wilson in 2022 does toy with time a little, though. Its source material doesn't date back 25 years, to when its stars were both in Anaconda, but its broad strokes could've still fuelled a late-90s addition to the romantic-comedy genre. That's how creaky it feels; of course, that timing would've meant spinning a story without livestreamed concerts — and livestreamed lives, outside of films such as The Truman Show and EdTV — but it also would've rid the movie of one of its biggest crutches. Marry Me finds it too easy to blame too many character choices on the always-online, always-performing, always-oversharing mentality that's now the status quo. It too lazily uses the divide between constantly broadcasting one's every move via social media and happily living life offline to fuel its opposites-attract setup as well. It's no wonder that the movie always feels shallow, even for an obvious fairytale, and even as the script attempts to layer in knowing nods to how women like its central popstar are treated by the world whether or not they record and share every moment they're awake. That singing celebrity is Kat Valdez, aka Lopez playing a part that could've easily been originally penned with her in mind. Kat is a global superstar who, to her dismay, is known as much for her hits as for her personal life. That said, she also willingly combines the two in the track 'Marry Me', a duet with her fiancé Bastian (Colombian singer Maluma) that the pair plan to get married to during a show livestreamed to 20 million people. But moments before Kat ascends to the on-stage altar, news that Bastian has been unfaithful spreads across the internet. Sick of being unlucky in love — and just as fed up with being publicly ridiculed for her romantic misfortunes — she picks out Owen's middle-school maths teacher Charlie Gilbert from the crowd and weds him instead. He's just holding a banner with the movie's title on it for his pal and fellow educator Parker Debbs (Sarah Silverman, Don't Look Up), and he's accompanied by his daughter Lou (Claudia Coleman, Gunpowder Milkshake), but he still says yes. Director Kat Coiro (A Case of You) knows the kind of glossy, crowd-pleasing, comfort-viewing fare she's making and has a feel for that exact niche, but no one is served well by John Rogers (The Librarians), Tami Sagher (Inside Amy Schumer) and Harper Dill's (The Mick) paper-thin script. Worlds away from their last respective big-screen roles in Hustlers and The French Dispatch, Lopez and Wilson do what they can with the fluffy, frothy material, but make viewers wish they had something better to work with. Charismatic casting can keep formulaic rom-coms afloat, and this pairing frequently does, but it can't hide Marry Me's surface-level skimming of anything that could've given it depth. What's expected of women, especially in the public eye; the struggle to keep believing in love when past relationships have silenced your hope; the chasm between the dream of fame and the reality: fleshed out, they all could've helped make Marry Me sing something more than the same old romantic-comedy tune. SIMPLE PASSION To watch Laetitia Dosch in Simple Passion is to watch a woman flipped and flung about by the forces of love and lust, sometimes literally, while proving steadfastly willing to flail and even flounder in the pursuit of her desires. After appearing in films such as 4 Days in France, Gaspard at the Wedding and Of Love and Lies, the French Swiss actor plays Hélène Auguste, a Parisian university lecturer caught in the throes of her most profound sexual relationship yet. Alas, Russian diplomat Aleksandr Svitsin (ballet star Sergei Polunin, The White Crow), the man she can't get enough, has a wife and another life in a different country. He also alternates between showing up unannounced for marathon lovemaking sessions, ghosting her texts and standing Hélène up on hotel rendezvous, a dynamic that leaves her as tussled and tumbled as their rumbles between the sheets. Passion is the perfect word for what she feels, as the movie's moniker proclaims — but the other term in its title couldn't be more loaded. Hélène's attraction to and obsession with Aleksandr is simple in its most primal form. Whenever the couple are in bed — or on whatever other surface fits the task in her sunny home, as writer/director Danielle Arbid (Parisienne) eagerly depicts — everything just clicks. But when more than flesh against flesh is involved, it isn't merely complicated; the infatuated Hélène may as well be an errant rose petal caught in a gusty breeze on a glorious day. The passion that she holds so dear, that makes her feel like something other than a single mother with a straightforward life, and that seems so perfect when coloured by post-coital bliss, is also a whirlwind that can thrust her in any direction at any time without notice. She wants to bask in the glow that her affair with Aleksandr ignites, not just internally and emotionally but in the way it makes everything about her existence seem brighter, and yet that happiness is always at his mercy. Arbid adapts Annie Ernaux's novel of the same name with a key, calm and clear-eyed aim: steeping her film deep within Hélène's mindset so that every frame reflects her longing and desire, and her passion at its most simple and complex alike. As its lengthy sex scenes linger on Polunin's body, the feature firmly sports a female gaze — the yearning that Hélène feels for Aleksandr filters through every image, whether the couple is getting physical, she's peering at the stoic face that so infrequently betrays what he's thinking, or she's taking her time cataloguing his tattooed torso. Simple Passion is explicit, and often, including with Hélène's ecstatic moans as its soundtrack. It's sensual, soulful and emotional, though, traits that equally apply in the dead space between the dates that its protagonist anticipates breathlessly. Indeed, Arbid and cinematographer Pascale Granel (The Wild Boys) capture the way that she stares around her house as she keenly awaits any sign from Aleksandr with the same intimacy and delicacy. That's a pivotal touch; stylistically, Hélène is never defined by Aleksandr, but by her own feelings. Dosch is remarkable as Hélène, turning in a rich and subtle performance that's both physically expressive and deeply internalised, and usually at the same time. Her body speaks its own language when she's with Aleksandr, while her face coveys everything that bubbles inside — sometimes hope and joy, sometimes despair and listlessness — whether she's revelling in his presence or rueing his absence. In fact, she so sensational that she helps the film patch over easy choices that, in hands less meticulous and careful than Arbid's, would threaten to put Simple Passion in the 50 Shades of Grey and After franchises' company. Of course Hélène is a literature professor, because female-focused features about thorny affairs that spring from the page to the screen love the field. Of course the movie's pop-music cues are heavy-handed. Of course Polunin operates in one register, even if his off-screen infamy lends more texture to his character. Nonetheless, when Simple Passion rises to its seductive and astute peaks, it showers the screen in sparks. WYRMWOOD: APOCALYPSE Add The Castle to the list of influences flavouring Australian zombie franchise Wyrmwood: here, as in the beloved homegrown comedy, it's the vibe of the thing. Starting with 2014's low-budget labour of love Wyrmwood: Road of the Dead and now continuing with Wyrmwood: Apocalypse, this bushland-set saga has atmosphere to spare. Free-flowing gore, a crash-and-bash urgency and a can-do attitude splatter across the screen in abundance, too. They're key factors in all movies about a dystopian future ravaged by the undead, but filmmaking siblings Kiah and Tristan Roache-Turner ask that mood and tone to do much of their series' heavy lifting. The Wyrmwood films blast away with affection for all of the zombie flicks that've preceded them, and all of the outback thrillers, Ozploitation fare and mad scientist-fuelled tales as well — and they couldn't be more blatant about it — but, even with that teeming passion and prominent energy, they still prove less than the sum of their evident sources of inspiration. As its predecessor did, Wyrmwood: Apocalypse nonetheless makes a smart move or two within its sea of well-worn concepts and overt nods. The strongest and savviest here: casting Shantae Barnes-Cowan and Tasia Zalar, and pointing the camera at them at every chance possible. The former takes on the shuffling, brain-munching masses fresh from battling vampires in the outback in Aussie TV series Firebite, and turns in another fierce and formidable performance. The latter arrives with The Straits, Mystery Road and Streamline on her resume and, while playing a character who needs rescuing — a half-human, half-zombie at that — she could never be described as a damsel in distress. Indeed, Barnes-Cowan and Zalar help set this sequel's ferocious tone as much as the gritty, go-for-broke aesthetics that the Roache-Turner brothers and their returning cinematographer Tim Nagle gleefully and eagerly covet. Writer/director/editor Kiah and writer/producer Tristan still stick with the most obvious protagonist, however: Rhys (Luke McKenzie, Wentworth), a special forces soldier who also happens to be the twin of a crucial figure from the prior film. He weathers dystopian life by holing up in a fenced-in compound where he uses a pen full of zombies to his advantage — aided by various contraptions, plenty of chains and shackles, plus blood-dripping carcasses as incentives — and by driving a Mad Max-style vehicle to round up undead test subjects for The Surgeon (Nicholas Boshier, The Moth Effect). In fact, after crossing paths with Zalar's Grace, he delivers her for military-approved experiments, but Barnes-Cowan's Maxi soon demands that he help set her free. Rhys has been operating under the assumption that The Surgeon and his armed pals had humanity's best interests in mind, despite all glaring appearances otherwise, a misguided belief that Maxi quickly vanquishes. Wyrmwood: Apocalypse also weaves in ex-mechanic Barry (Jay Gallagher, Nekrotronic) and his sister Brooke (Bianca Bradey, The Pet Killer), survivors of the first film, and toys with zombies controlled by virtual reality, too. Just like its heaving pile of influences, Wyrmwood: Apocalypse doesn't lack in moving parts — although that isn't the same as telling an engaging story, which the sequel doesn't ever muster up. Wyrmwood: Road of the Dead already echoed too loudly with been-there, done-that touches; this follow-up positively screams, especially for fans of both horror and science fiction who've seen all the same movies that the Roache-Turners clearly have. Unsurprisingly, while Bosher steals scenes by pure force in his attempt to one-up even the craziest of past on-screen mad scientists, everything around Barnes-Cowan and Zalar — McKenzie's supremely standard leading role included — frequently feels like filler in an familiar wasteland. BLACKLIGHT In most movies, Liam Neeson's Blacklight character wouldn't be the protagonist. Secret FBI fixer Travis Block likely wouldn't even be given a name. Instead, he'd merely be a brief presence who popped up to help other on-screen figures — the federal agents he gets out of tricky situations, for instance — as they went about their business and connected the script's necessary plot points. Turning someone who'd usually be seen as disposable into its lead is this action-thriller's one good idea, but the flattened henchman scene in Austin Powers gave the notion more thought than the entirety of Blacklight demonstrates. There's a difference between thrusting a character to the fore and fleshing them out, especially when a film is happy to define them solely by the actor in their shoes. Here, Travis Block is another prosaic entry on Neeson's action resume first and foremost. When Blacklight begins, Block has spent his career doing whatever FBI Director Gabriel Robinson (Aidan Quinn, Elementary) has asked. Typically, that's assisting on-the-books operatives struggling with off-the-books missions — and Block is great at his job. But when he's tasked with aiding the suddenly erratic Dusty Crane (Taylor John Smith, Shadow in the Cloud), he begins to see more in the rogue agent's story than his old Vietnam War pal Robinson wants to share. Crane has quite the wild tale to tell, tied to the assassination of Alexandria Ocasio-Cortez-style politician Sofia Flores (Mel Jarnson, Mortal Kombat) and filled with dark government secrets, and he's eager to share it with scoop-chasing reporter Mira Jones (Emmy Raver-Lampman, The Umbrella Academy). That's exactly what Block is supposed to stop, with his new crisis of conscience putting his daughter Amanda (Claire van der Bloom, Palm Beach) and granddaughter Natalie (debutant Gabriella Sengos) in peril. Spotting similarities between Blacklight and Neeson's other recent work isn't just a sign of spending too much time watching the Irish actor's features of late. His latest release shares a filmmaker with Honest Thief, which reached cinemas less than 18 months ago — and writer/director Mark Williams doesn't stretch himself or his star in their second collaboration. Another flick that's solely about getting Neeson to deploy the no-longer-special set of action skills he's been trotting out since the Taken films became such hits, Blacklight is dispiritingly bland and by the numbers, even within the growing pile of movies that fit the same description (see also: The Marksman and The Ice Road in the past year). It isn't just that first-time co-scribe Nick May's formulaic script ticks every expected box, and that Williams' every directorial choice sticks to the easy and obvious as well. Flatter than the weary gaze emanating from Neeson at every turn, the film persistently suffers from a lack of life and energy. Melbourne dubiously stands in for Washington DC, and the conspiracy-fuelled action that takes over its streets and buildings is even less convincing; whether tracking foot chases or crashing along roadways, the movie's set pieces are perfunctory at best. And while the subplot involving Travis' yearning to spend more time with Amanda and Natalie is meant to add depth amid the routine blows, it's as flimsy and implausible as everything else in the narrative (especially when Amanda can't fathom why her dad, whose personality is solely defined by his work, family and having OCD, has a paranoia problem). The twists surrounding Robinson prove just as laboured, and Neeson and Quinn's long-standing on-screen rapport — dating back to 1986's The Mission — can't bolster the dialogue or the dynamic between their. Indeed, when Neeson utters resigned lines about making poor career choices, it rings with truth for all of the wrong reasons. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; and February 3. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West and Jackass Forever.
There comes a time when each of us wants an upgrade: to take a grown-up step away from flat-packed, ready-made living and start turning that ‘Dream House’ Pinterest collection into a reality. Beachside hut, slick city unit or terrace house in the leafy ‘burbs – whatever your style, Concrete Playground has the pick of Sydney’s best interior (and a little bit of exterior) design stores right here. So you can put away that IKEA catalogue, pronto. Chee Soon & Fitzgerald Stocking both local and international designers like Georg Jenson, Artemide and Marimekko, as well as their own brand CSF, this Crown Street store is known for its modern decorative fabrics, wallpaper and lighting. They also provide a custom design service in store for all sorts of soft furnishings like lamp shades, rugs and throws. 387 Crown Street, Surry Hills; (02) 9360 1031 Clothfabric Whether you're covering your bed, sofa, tables or walls, Clothfabric has handmade pieces from local craftsmen who use local materials. They design all of their items from a 'surf' tea towel and 'seaweed chalk' cushions to abstract wallpaper and floral bed linen. 35 Buckingham Street, Surry Hills; (02) 9699 2266 Corporate Culture From tables to beds, lighting and acoustics Corporate Culture in Chippendale has everything to make your house designer from top to bottom. With designers from Arne Jacobsen to Hiromichi Konno you will definitely find something to fit your style. 21-23 Levey Street (off Buckland Street), Chippendale; (02) 9690 0077 David Met Nicole Vintage amazingness is what can be found at David Met Nicole with quirky pieces from the UK, France and America. Mannequins, world globes, clocks, furniture is what you will find from the 1900s to the 1950s. 382 Cleveland Street, Surry Hills; (02) 9698 7416 Dust For lovers of antiques and bric-a-brac, Dust is the place to be for all things unique. From headdresses, taxidermy and chandeliers to vases, lamps and artworks. 381 Liverpool Street, Darlinghurst; (02) 9332 2854 Elements I Love Genuine vintage furniture and homewares collected from France and India, including ornate antique wooden doors, cast iron chandeliers and brass keys (in case you've lost your own, obviously). Personally, we're coveting the delicately (and lovingly) string-bound, battered and fraying paperbacks in the store window. 2/276 Devonshire Street, Surry Hills; (02) 9698 8884 Great Dane Great Dane, located in Redfern is a mix of modern and classic Scandinavian designs from furniture to accessories and lighting. Brands include And Tradition, De Vorm, NUD Collection and many more creative designers to choose from to give your home a Scandinavian edge. Slick, modern Scandinavian and Danish interior designs, from hand-crafted timber chairs and coffee tables to oak and walnut work tables and lightweight metal, timber and plexi shelving. 613 Elizabeth Street, Redfern; 0417 279 548 Hub With an array of designers that will help you fit out every nook and cranny of your living quarters Hub lives up to its name for all your furniture needs. A focus on chairs, lighting, living and floor coverings from designers across the globe such as Fatboy, Skitsch, Celine Wright and David Mellor. 66-72 Reservoir Street, Surry Hills; (02) 9217 0700 Ici et La Ici et La has an abundance of all things Francaise - deck chairs, striped fabrics, French garden furniture and accessories. Pieces are continually shipped from France which means there is always something new that may be perfect for your home. 7 Nickson Street, Surry Hills; (02) 8399 1173 Jardan All designed and made in Melbourne, Jardan has a wide range of sofas, chairs, tables and beds that are custom made through a family owned and run company. 650 Botany Road, Alexandria; (02) 9693 2288 Koskela At Koskela, owners Russel Koskela and Sasha Titchkosky have a philosophy to produce environmentally-friendly, sustainable furniture that is also beautiful. All of the stock at their Rosebery warehouse store, including wooden kitchen stools or a classic timber base sofa, are designed by Koskela and, where possible, made from reclaimed timbers. They also sell inspired wicker light frames, loom rugs and a colourful range of recyclable polyethylene stools for your garden or balcony. 1/85 Dunning Avenue, Rosebery; (02) 9280 0999 Latitude If your idea of a dream pad involves white-washed pine, wicker chairs and fleece blankets for curling up after a day at the beach - Latitude in Manly is the interior design store for you. Here, inspiration is drawn from chic, contemporary beachside living. Whether or not you have the beach view, you can certainly kit out your home to feel like you do. 12 Sydney Road, Manly; (02) 9976 5623 Living Edge Living Edge is Australian owned offering beautifully designed furniture from around the world with a mix of iconic and classic pieces. Priding themselves on the most carefully chosen pieces offering a huge range of pieces for your home or office. Designers such as Charles & Ray Eames, Mark Newson, Pierre Paulin are just a few of the names you will be able to find architecturally sound space. 74 Commonwealth Street, Surry Hills; (02) 9640 5600 Macleay on Manning With brands in store like Missoni, Fornasseti, Kenzo, Paul Smith, Bouvier and Jasper Conran (and many more besides), Macleay on Manning is interior design with a little va va voom. From modern classics like Andy Warhol prints on your crockery to eery ghost-like faces engraved into the bottom of your whiskey glass, owners Jill and Rod Ordish have handpicked both local and international designs in furniture, art, jewellery and books, among other homeware treats. 1/85 Macleay Street, Potts Point; (02) 9331 4100 Object Gallery Celebrating the work of Australian designers, Object Gallery provides a sales platform for as many as 200 different artists and designers each year. The Surry Hills shop stocks an eclectic mix of ceramics, fabrics, glass, and other gifts and home knick knacks. 417 Bourke Street, Surry Hills; (02) 9361 4511 Orson & Blake If you prefer your furniture with bold prints, adventurous colour and that luxurious feel, Orson & Blake in Surry Hills is likely to have a sofa, cushion set or canvas painting to suit your style. Stocking almost everything you'd need to kit out your home, from leopard print, cowhide or shiny gold ottomans (yes please!) to your own wicker hanging chair: they have it all. 483 Riley Street, Surry Hills; (02) 8399 2525 Planet Planet prides itself on simple designs and sustainably-sourced natural fibres like oak coffee tables, muslin lampshades and oversized jute rugs. They stock a solid collection of ceramics, textiles, lighting and those big investment pieces of furniture, like a strong oak frame bed. It's like the antidote to IKEA. 114 Commonwealth Street, Surry Hills; (02) 9211 5959 Seasonal Concepts Stepping into the wonderland that is Seasonal Concepts, in Redfern, will feel every bit like you've stumbled upon an indoor marketplace. There's a vast collection of varied and unique items, everything from antique and retro furniture to a taxidermy peacock. Pick up truly one-off, pre-loved items (quick) before someone else gets there first. 122 Redfern Street, Redfern; (02) 8399 2435 Space Space has a huge variety of creative pieces from designers and brands from around the world such as Fiam Italia, Roll & Hill and Triangolo. The showroom is big and has something for every room and taste. 84 O'Riordan Street, Alexandria; (02) 8339 7588 Shelf/Life Simple, elegant products and homeware designs with a conscience. Shelf/life carefully sources handmade, local and ethically produced stationery, kitchen accessories, gifts and ornaments to decorate your home with products that have been designed to outlive the trends. Shop 1, 50 Reservoir Street, Surry Hills; (02) 9211 2858 Vampt Vintage Design At their main showroom in Surry Hills, you’ll find one off vintage and retro pieces like a teak boomerang sofa table, 1960s ‘futuristic’ chairs, an Art Deco drinks cabinet, and even Danish Tivoli pendant lights by the very same Jorn Utzon who designed Sydney Opera House. 486-490 Elizabeth Street, Surry Hills; (02) 9699 1089 Wall Candy Wallpaper Delicious, fun, playful or simple, elegant and classic. This store has a never-ending collection of Wall Candy wallpaper designs: floral, geometric, striped - you name it, and we betcha, they have every colour. 420 Crown Street, Surry Hills; (02) 9331 5884 Workshopped Like an exhibition in upcoming Australian designers, Workshopped has been supporting and selling locally designed homewares and home accessories for over a decade. Inject some fun and flamboyance in your home with some quirky, playful products like Takeshi Iue's Japanese-style fruit bowl which elegantly fans out like a flower, or a porcelain fish bowl inspired by George Orwell's 1984, offering your goldfish a touch more privacy than the average cylindrical glass bowl. 2/8 Hill Street, Surry Hills; (02) 9146 4353 Words by Emma Joyce & Jane Fayle
Nothing brings out the whole neighbourhood like a street celebration. The road closes as people spill out of their homes, kids run wild as the parents catch up on what's new — it's a special and extremely nostalgic vibe. If you remember that feeling, especially if you live on or near or if you're overdue to visit some of Sydney's beloved inner-city streets, then you should be eagerly awaiting the return of Sydney's equivalent celebration. Some of the city's most prominent roads are being temporarily transformed for Sydney Streets. The City of Sydney is closing roads to cars and opening them to festivities, allowing and encouraging local businesses to take over the street for a day of community celebrations. Activities involving food, music, live entertainment and more. This will be a significant series of events, so which roads are closing and when? Let's find out together. Macleay Street — Saturday, February 17 Kicking off the 2024 run, Sydney Streets will head to Potts Point, taking over Macleay Street between Darlinghurst Road and Hughes Street between 11am and 10pm. It's a busy, tree-canopied road and home to some of the finest cafes and bars in the inner east. We'll update you with more information on the available activities soon, but we can give you an idea of what to expect on the day. Participating venues include NYC-in-the-50s-inspired bar The Roosevelt, which will be taking it outside with a live DJ, a jazz band setting up at Bistro Rex, the Sydney city shopfront of deluxe chocolatiers The Chocolate Box, and boutique fashion label A Date With Mabel. Anytime Fitness will be challenging you with assault courses for prizes, and you can get into the Mardi Gras spirit with Drag Storytime with Joyce Maynge, a pop-up stage in Fitzroy Gardens with performances from local artists along with acoustic sets in Llankelly Place from Marcus Corowa and more. Stanley Street — Saturday, February 24 The following week, we head across town to Darlinghurst and Stanley Street, where the Yurong Street to Crown Street section will hold the festivities from 11am to 10pm alongside the extended traffic closure. With the likes of Bar Nina, The Long Goodbye and Stanley's on Stanley participating on the day, that means good times are all but guaranteed. Sydney Streets will bring Joyce Maynge for more drag storytime to celebrate Mardi Gras, plus cartoonist portraits, an art workshop and face painting for the kids. You'll be celebrating favourites and newcomers of the area alike, like Harry's by Giuls — which will be dishing out pizza and Aperol aplenty. The Colonial has recently arrived, following two shops in Neutral Bay and Balmain, boasting a menu inspired by India's history. There's also the Mongolian Wooden Bar and Grill, Khaoyum TN and Bar Reggio, all open for business. Glebe Point Road — Saturday, March 9 Two weeks later, the celebrations shift west to Glebe Point Road, specifically the diverse stretch of shopfronts and residences from Parramatta Road to St Johns Road. It's student territory, so packed with culture and vibes from dawn till dusk. The area will be closed to traffic on Saturday, March 9, from 9am to 10pm to let the activities flourish on foot between 11am and 10pm. The aforementioned vibes stem from the people but also great spots, all of which will come alive for Sydney Streets — spots like tapas bar Despana with an all-day offering of paella, tapas and sangria, free crystals from local shop Mineralism and a food stand from Banh Mi Dee. Enjoy cocktails, live music and Sri Lankan crepes at Kandy by Sri Lankan Bites, pastries and fresh juice from Dispensary 1908, a Sydney Streets return from newcomer cafe Soul Garden, and a mobile coffee and cookie cart plus face painting for the kiddos by local favourite Dirty Red. Redfern Street — Saturday, March 16 Next up on the list is Redfern Street, the main stretch of road that runs from Regent Street to Chalmers Street. It's a busy road day and night, shuffling commuters and after-dark pedestrians in equal numbers. From 11am to 10pm, many businesses will open doors to the busy foot traffic outside. When it comes to food and drink, Redfern Street is home to all sorts, and it's all happening for Sydney Streets. From plant-based pub feeds with a live performance at The Sunshine Inn to Thai sweet treats at Sweet Monster. There are also beers aplenty from The Noble Hops, a range of Italian eyewear and hair braiding at Face Furniture, student-written publications and writing activities on offer at Story Factory, flash tattoo sales from Markd Tattoo and an outdoor pinball competition at local favourite Beercade, DJs and paella at Vamonos Paella and painting workshops at Sydney Creative. Harris Street — Saturday, March 23 The following weekend will bring Sydney Streets to Pyrmont and a small stretch of Harris Street (between Pyrmont Bridge Road and Union Street) for its 11am to 10pm offering to pedestrians. Adjacent to Sydney Harbour, Harris Street is another ideal setting for the series, brimming with culture, activities and Sydney spirit. Some of the participating businesses for this weekend include a pop-up bar (plus tastings) from the local branch of Porter's Liquor, craft beer and pub feed pros at The Quarryman's Hotel, experts of fitness and flexibility at Sense of Power Pilates, newcomer Miami Bar, a pop-up reading corner in Union Square — and the self-titled 'Masters of Steak' at Element's Bar and Grill will open a pop-up bar of their own. Crown Street — Saturday, April 6 Further south is a beating heart of activity in Sydney, the beloved Crown Street in Surry Hills. For Sydney Streets, the stretch from Foveaux Street to Cleveland Street will host November's first Saturday of community celebrations. Any Sydneysider is familiar with the offering of this famous road, so with the standout venues colliding with the standout vibes of Sydney Streets from 11am to 10pm, it's set to be quite the Saturday. The entertainment will come from the likes of roaming circus acts, dancers and bands — while local spots joining the celebrations include Surry Hills Fine Wines, which will offer extensive wine and cocktail tasting alongside music and entertainment; the Surry Hills outpost of the pizzeria Via Napoli will be dishing out pizza and arancini; Tuscan-style hotspot Giuls will open its famous Aperol cart alongside pizza and sandwiches, plus the beloved artisan butchery Ardi's Block to Grill, food stalls from Masala Theory and The Clock (which will also be running a beer garden takeover on Collins Street) and outdoor dining spaces at Bertos Espresso and Royale Specialty. Sydney Streets will be taking over several roads between Saturday, February 17 and Saturday, April 6. For more information, visit the website.
You don't need an excuse to visit the Golden Sheaf's beer garden. The creeping vines and twinkling fairy lights are usually excuse enough. But if you're looking for one, here it is. From Sunday, June 1, the Sheaf is dishing up a roast every Sunday. For $30, you'll get a plate loaded with roast beef, Yorkshire pudding, golden potatoes, honey-and-mustard parsnips, carrots and rainbow chard — all doused in gravy. Add an entree in the form of charred Tassie octopus or crispy calamari, along with a glass of Untitled pinot noir from Victoria or a Right Bank shiraz from the Barossa Valley, and you'll be all set for a long and cosy afternoon. The beer garden is well heated — but if you're still cold, it's even warmer inside. The Golden Sheaf is just one Solotel's 13 pubs that's putting on a Sunday roast all winter. You'll also find a $30 special at The Kings Cross Hotel, The Strand in Darlinghurst, The Clock in Surry Hills, The Courthouse and The Bank in Newtown, The Erko in Erskineville, Public House Petersham, The Norfolk in Redfern, The Sackville in Rozelle, Camelia Grove in Alexandria, Bridgeview in Willoughby and The Albion in Parramatta.
Franca is an upscale French-style brasserie that marries the country's famous cuisine with a coastal twist, from elegant digs in Potts Point. Supported by a steadfast dedication to the freshest seasonal ingredients, just as the name suggests, it won't take long to appreciate why the team views food as the universal language. There's no better example of this on the restaurant's menu than its Moreton Bay Bug. Served in-shell, this supremely tender feast is finished with house-made Café de Paris butter that brims with herbs, garlic and citrus notes. Yet the place isn't afraid to have a little fun with it. Available as a strictly limited creation, Franca's talented kitchen, guided by Head Chef Luke Davenport, is ready to unveil its Moreton Bay Bug Roll, a playful reimagining of their famed dish. Launching on Tuesday, June 3, it features decadent meat layered on a toasted brioche and served with Tabasco and potato chips. And for the first week only, guests who order this fine creation will receive a complimentary 10-gram serving of Oscietra caviar. While you're probably already planning your visit, understand that this unique dish is being prepared in exceedingly few numbers. Served specially from 5–6pm, only 10 guests have the chance to taste it per day, making it one of Sydney's most exclusive dining experiences. Ready to feast on this fancy invention? Franca's Moreton Bay Bug Roll is available for $28, while the 10-gram serving of caviar will cost $30 once the free add-on period ends on Sunday, June 8. Head along to score what is likely Sydney's most luxurious sandwich. The Moreton Bay Bug Roll is available from Tuesday, June 3 at Franca, Shop 2/81 Macleay Street, Potts Point. Head to the website for more information.
When news arrived that Brooklyn Nine-Nine is coming to an end after its upcoming eighth season, did it hit you a little harder because you've spent the past year binging and re-binging its latest batch of episodes? According to a rundown of Australia's most-rented and -bought video-on-demand titles from 2020, plenty of TV lovers spent the last chaotic year watching comedic cop antics. The show ranks second on the television list — and, across both film and TV, it has a heap of company. The Australian Home Entertainment Distributors Association (AHEDA) has released four top ten lists, all detailing exactly what Aussies were hiring and buying to watch online in 2020. Netflix did something similar late last year, when it reminded us all that we'd feasted our eyeballs on Cobra Kai, The Haunting of Bly Manor to Enola Holmes and Tiger King: Murder, Mayhem and Madness; however, this new rundown focuses on things you would've headed to digital purchase and rental stores to see (so, to services such as Google Play, YouTube Movies, Amazon Video, Apple TV, the Foxtel Store, Telstra Box Office and Fetch). With cinemas closed for months, a number of recent flicks then fast-tracked online, it's hardly surprising that movies that quickly jumped to digital proved popular. Jumanji: The Next Level topped the best-selling list, followed by Sonic the Hedgehog. Also now sitting in virtual movie collections around the country: Frozen 2, Joker, Star Wars: Episode IX — The Rise Of Skywalker, Bad Boys For Life, The Gentlemen, Bloodshot, Scoob! and Ford v Ferrari. https://www.youtube.com/watch?v=zyYgDtY2AMY Some of the above films also feature on the most-rented list, which Joker topped. Sonic the Hedgehog came in second again, with The Gentlemen, Jumanji: The Next Level and Gemini Man rounding out the top five. They were followed by 1917, Knives Out, Ford v Ferrari, Once Upon A Time in Hollywood and Hustlers. And, if you made an effort to support local fare while Australia's creative sector was affected by the pandemic, AHEDA has detailed which ten Aussie-produced movies received the most love. Ride Like a Girl came out on top, The Invisible Man took second spot and Miss Fisher and The Crypt of Tears nabbed third. Then came Danger Close: The Battle of Long Tan, 100% Wolf, Go!, Peter Rabbit, Black Water: Abyss, Carl Barron — Drinking with a Fork and The Nightingale. On the TV front, Brooklyn Nine-Nine's seventh season was only pipped by Outlander's fifth season. On the rest of the televisio list: The 100's seventh season, Vikings' sixth season, The Undoing, Supernatural's 15th season, Big Little Lies' second season, Game of Thrones' eighth season, Chernobyl and the first season of Succession. AHEDA also noted that the Game of Thrones, Lord of the Rings and Harry Potter franchises were popular (unsurprisingly), and that digital purchases and rentals soared in April and May (again, to the surprise of of no one) by between 29–55 percent. To rent or buy any of of the above titles online, head to services such as Google Play, YouTube Movies, Amazon Video, Apple TV, the Foxtel Store, Telstra Box Office and Fetch.
When it comes to summer, Australia hits it out of the park. Proof? Just look at how many high-quality festivals are held in the sunny months. From camping festivals with a secret lineup in a dairy farm, to a one-day inner city dance parties, there's pretty much something for every inclination (and intensity) this summer. And with all the frivolity and letting loose that happens on festival grounds, it's forgivable to forget who'll be gracing the stages. The 2018–19 season shows off an incredible crowd of Aussie musicians, with names almost eclipsing the international talent they'll be playing alongside. Courtney Barnett, Gang of Youths, Flight Facilities and Stella Donnelly are a representation of the hundreds of Aussies doing the rounds, joined by international artists such as Cardi B, Anderson .Paak and Nicki Minaj headlining. But it's not just about the music. There'll be no shortage of visual art and the food offerings, like every year, are more and more gourmet and accommodating to dietaries (even at some of the more remote locations).
