If, mid-way through a piece of raw lasagne, you've ever wondered what makes About Life's food so tasty, yet still somehow good for you, you can stop guessing. The wholefoods cafe and supermarket mini-empire — which now has seven stores in Sydney and one in Melbourne — has released a recipe book, titled A Whole New Way to Eat. That's right, nutritionist Vladia Cobrdova — who's responsible for developing About Life's recipes — is throwing a few secrets your way. All in all, there are 135 recipes, covering familiar offerings from the wholefoods institution's cafes and self-serve meal aisles. They're all relatively simple and don't employ heaps of obscure ingredients, meaning they're recipes you're actually likely to make. Coconut turmeric quinoa porridge? That's on page 12. Umeboshi black bean spaghetti salad with sesame toasted broccoli? You'll find that on page 86. A giant lamington with raspberry Kakadu jam? It's in there too (and we've got the recipes for those last two below). There are brekkies, lunches, dinners, salads, soups, sides, drinks and desserts galore. A Whole New Way To Eat will be launched at a series of free events, to be held at various About Life stories during the first couple of weeks of March with Vladia Cobrdova. She'll be chatting, demonstrating and, most importantly, handing out samples. Catch her at in Melbourne on March 7 and at the Crows Nest store in Sydney on March 11. As difficult as it is to believe, About Life started out in Sydney in 1996 as a little juice bar, with just a handful of groceries for sale. Now, with eight stores around the country and somewhat of a cult following, they're expanding into at-home territory, which, as a grocer, makes a lot of sense. A Whole New Way To Eat is published by Murdoch Books and will be available for $39.99. We've managed to nab two of the recipes from the book below to get you started. UMEBOSHI BLACK BEAN SPAGHETTI SALAD WITH SESAME TOASTED BROCCOLI Umeboshi is a paste is made from fermented plums, which gives this recipe a salty yet still plummy taste. It's vegan, gluten- and dairy-free, and will take about 30-40 minutes to prepare. 200 grams broccoli, cut into small florets 1 tablespoon sesame oil 1 tablespoon sesame seeds 200g black bean spaghetti (or brown rice noodles) 150g snow peas, trimmed and halved lengthways 250g green beans, trimmed and cut in half Umeboshi dressing 60ml (¼ cup) sesame oil 1½ tablespoons mirin (rice wine) 2 tablespoons umeboshi paste ¼ cup finely grated fresh ginger 75g (½ cup) sesame seeds 1 tablespoon tamari Preheat the oven to 180°C. Spread the broccoli on a baking tray, add the sesame oil and sesame seeds and toss to combine. Bake for 20 minutes or until lightly roasted but still crunchy. Meanwhile, bring two litres (eight cups) of water to the boil in a large saucepan over high heat. Add the spaghetti and cook for 6-8 minutes until tender. Add the snow peas and green beans for the last minute of cooking to blanch. Drain and rinse under cold water to stop the cooking process. To make the dressing, whisk all the ingredients together in a small bowl with 60ml (¼ cup) of water. Transfer the spaghetti, snow peas and green beans to a serving bowl. Pour in the dressing and toss until well coated. Top with the crunchy broccoli florets and serve. GIANT LAMINGTON WITH RASPBERRY KAKADU JAM This cake-like lamington is gluten-free and vego, and is topped with jam made with native Kakadu plum powder. You'll probably have to go to About Life to buy some — but if you can't get any, you can use the zest of an orange. 6 eggs 11 g (⅓ cup) honey 80ml (⅓ cup) melted coconut oil 1 teaspoon vanilla bean paste 65g (½ cup) coconut flour ½ teaspoon baking powder 100g (1 cup) almond meal 35g (½ cup) shredded coconut Kakadu jam 170g raspberries, fresh or frozen and defrosted 50g (¼ cup) coconut sugar 1 tablespoon Kakadu plum powder, or use the zest of 1 orange 45g (¼ cup) chia seeds 2 tablespoons coconut water Cacao frosting 40g (¼ cup) coconut oil 55g (½ cup) cacao powder 60ml (¼ cup) coconut cream Preheat the oven to 160°C. Lightly grease a 30cm x 12cm x 10cm loaf tin and line it with baking paper, leaving the sides overhanging. Use an electric mixer fitted with the whisk attachment to whisk the eggs and honey for five minutes or until well combined. Add the coconut oil and vanilla bean paste and whisk for another 2-3 minutes until well combined. Combine the coconut flour, baking powder and almond meal in a separate bowl. Gently fold into the egg mixture until just combined, then spoon into the prepared tin and bake for 40 minutes or until a skewer comes out clean. Remove from the oven and allow to cool in the tin. Meanwhile, to make the jam, combine the ingredients in a blender and blend until smooth. Transfer to a small bowl, cover and refrigerate for 15 minutes or until set. To make cacao frosting, put the coconut oil in a frying pan with 60ml (¼ cup) of water and cook over low heat until the oil melts. Add the cacao powder and coconut cream and stir for two minutes or until combined. Remove from the heat and set aside to cool. Transfer the cake to a serving plate. Spread with jam and drizzle with the frosting. Scatter with shredded coconut. Images and recipes from A Whole New Way To Eat by Vladia Cobrdova (Murdoch Books RRP $39.99) photography by Rob Palmer.
The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok and Carol actor — "our Cate", of course — best be making space next to her Oscars for The Aviator and Blue Jasmine as a result. Well-deserved accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them) and, as the Golden Globes showed, they're not likely to stop till this awards season is over. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Directing a film for just the third time in 22 years — and the third at all, as well as the first since 2006's Little Children — writer/helmer Todd Field begins Tár with the woman, the myth and the legend. Since the feature's US release, viewers have been known to think that Lydia is an actual person, which has proven instantly memeable, yes, but more importantly is a testament to the detail and potency of the filmmaker's layered script. As Gopnik advises, Tár is a protégé of the one and only (and real) Leonard Bernstein, the first female chief conductor of the Berlin Philharmonic and an EGOT-winner. She has a book in the works, Tár on Tar, and she's soon to record her dream piece, Gustav Mahler's Symphony No. 5. She's not fond of having her successes ascribed to battling sexism, but she's proud, confident and authoritative talking about her career, field and leap to the top of classical music. Not mentioned in this early celebration, unsurprisingly: the behaviour that'll come back to stalk Lydia, involving her treatment of mentees and students, and cracking her hard-carved place in an elite realm. With two Academy Award nominations to his name for screenwriting, for both Little Children and his 2001 feature debut In the Bedroom, Field is in his element plotting Tár's intricate and tangled life that just keeps getting more and more knotted — and penning and directing a film that's equally as complicated. Tár is many things and never merely one thing, but it's a psychological character study above all else. As the feature charts its namesake's downfall from the heights that the picture opens with, and unpacks her arrogance and ambition, it unravels Lydia. As it examines her professional dealings and personal bonds, sees transactional connections wherever she goes and shows her scant regard for most folks other than herself (although she'll happily bully a schoolgirl for her young daughter Petra, played by first-timer Mila Bogojevic), the movie chips away at Lydia's carefully established personality and mystique. And, as her standing plummets amid a scandal, and her relationships with it, the film probes and ponders who she truly is anyway — and why. Is Tár a groomer, predator and liar? A talent who took her lust for triumph too far? A celebrity overly enamoured with her own fame and power? Is she a woman fracturing? Someone literally haunted? An egotist using and emotionally bruising, then getting what she deserves? Tár is too crafty — and well-crafted — a drama to quickly or easily tick most of those boxes for its protagonist, and finds much of its depths (and much of its fuel for Blanchett's performance) in provocatively giving all of the above attention. As Lydia belittles Juilliard kids in showy lectures about JS Bach, grinds first violin Sharon down to just one of her offsiders, capitalises upon Francesca's own conducting dreams, weathers a storm with her past favourite Krista (debutant Sylvia Flote) and throws her current approval towards new Russian cellist Olga (acting newcomer Sophie Kauer), Tár is also as precise at building the world that its titular character dwells in, where her genius and thrall draws in everyone, enables her, and lets Lydia herself believe that everything is excused and even worth it if it results in her art. Collaborating with cinematographer Florian Hoffmeister (Pachinko), editor Monika Willi (Happy End), costume designer Bina Daigeler (1899), production designer Marco Bittner Rosser (Only Lovers Left Alive) and composer Hildur Guðnadóttir (Joker), Field does indeed fashion Tár immaculately. A film of cool hues, firm lines and rich surfaces — Lydia's suits encapsulate the look perfectly — as well as a gripping, tension-dripping beat, it's a film where every choice seen and heard is revealing about its story, central figure and themes. Tár is also a movie of striking scenes revelling in such tightly constructed surroundings, all with Blanchett at their centre. Every choice she makes with her facial expressions and body language, whether Lydia is regaling fans, instructing pupils, pushing aside loved ones or luring in new points of interest, is a compelling, entrancing masterclass. When Tár picks up the baton, plays the piano, holds court, tries to navigate her own fall and perhaps even orchestrate her own second rise: these moments, whether loud and intense or quiet and contemplative, are hypnotic and loaded, too. But, across a 158-minute duration that never feels that long and shows zero signs of bloat, Field fills his frames with more than just one outstanding player. He could've simply let Blanchett's awards-worthy efforts be Tár's everything alone, and this'd still be captivating, bold and intelligent. Again, there wouldn't be a film this piercing without her, and it rises in tandem with her astounding work. In what's hopefully not his last picture for another decade and a half, however, Field sees what Lydia can't and won't. Casting German acting royalty Hoss and French Portrait of a Lady on Fire standout Merlant, both of whom bring texture, vulnerability and visible signs of pain to their pivotal characters, makes a statement: that no story is one person's only.
While face masks were first mandated in Melbourne back in mid-July, the NSW Government has only ever 'strongly recommended' its citizens to cover up. From midnight tonight, Saturday, January 2, however, that's all changing. In a bid to contain the current COVID-19 outbreak, which now encompasses clusters on the northern beaches, in Croydon and in western Sydney's Berala, the NSW Government is mandating the wearing of masks for some indoor settings across Greater Sydney. Sydneysiders, including those who live in Wollongong, the Central Coast and the Blue Mountains, must don a mask when they are shopping (at supermarkets, shopping centres and other retail stores); on public and shared transport; at indoor entertainment, such as cinemas and theatres; at places of worship; at hair and beauty salons; and using gaming services. They'll also be mandatory for all staff in hospitality venues and casinos. Children under 12 are exempt, but are encouraged to wear one where they can. If you refuse to do so, you'll risk being slapped with a $200 on-the-spot fine. While the public health order commences today, police won't start issuing fines until Monday, January 4. NSW recorded seven locally acquired cases of COVID-19 in the 24 hours to 8pm last night, with an additional 12 cases in... Posted by NSW Health on Friday, January 1, 2021 Compulsory mask wearing is not the only new restriction announced today for Greater Sydney, either. Gym classes will be reduced to 30 people; places of worship, weddings and funerals will be limited to 100 people, with one person per four square metres; outdoor performances and protests capped at 500; seated, ticketed and enclosed outdoor gatherings reduced to 2000; and nightclubs will not be permitted. These restrictions will come into effect at midnight tonight for all of Greater Sydney, including the southern half of the northern beaches, which has been under stay-at-home orders since Saturday, December 19. While the stay-at-home orders are ending tonight for the southern zone — south of Narrabeen Bridge and the Baha'i Temple — which will then have the same restrictions as the rest of Sydney, they will remain for the northern zone until Saturday, January 9. To find out more about the status of COVID-19 in NSW, head to the NSW Health website.
It's never too cold to party. At least, that's what the guys behind Snowtunes say. And for its third year, this Snowy Mountains music festival is coming back even bigger — twice the size actually. With the addition of a second night of festivities, the party people have also added a second stage so punters can enjoy live music at one and dance it out at the other, dedicated to EDM. And with our Snowy Mountains giveaway, you could be right there listening, dancing and partying with the snowy revellers. Who's expected to take to the stage at the festival? Plenty of Aussie-born talent, including L D R U, Gang of Youths, Nina Las Vegas, Mashd N Kutcher and Tigerlily, plus New Zealand-born singer-songwriter Mitch James and French DJ Klingande with some tunes from abroad. Mark your calendars and find some snow gear, because you could win a double pass to both days of Snowtunes on September 1 and 2, plus two nights accommodation in your own studio apartment. Enter your details below. [competition]631762[/competition] Image: Perisher Ski Resl.
New York is a very strange, very wonderful place. A city full of the quirky, the neurotic, and the downright weird, there is a place for everything and everyone in New York. That's why when I came across Rachael Morrison I was hardly surprised by her unorthodox performance art — in fact, I was completely spellbound. Morrison, a Senior Library Assistant at The Museum of Modern Art Library in New York, has launched a performance art project called 'Smelling the Books.' And yes, this is exactly what it sounds like. In early 2010, Morrison began her olfactory escapade, systematically smelling every book in the MoMA Library collection and documenting each new sensory experience in a ledger. Of the performance Morrison says her purpose is to "foster a discussion of the future of print media, the ways we read, methods of classification, and the way in which smell is entwined with memory." I love the smell of books. A book is like a lover — with each one you have a unique experience and with each you build a unique relationship, one that can't be re-fabricated by a computer or a kindle, no matter how hard you try. And that's why I'm asking you now, gentle reader, to join Morrison's crusade; pick up your favourite old classic or buy something new, curl up wherever you are with a cup of coffee, and nuzzle your nose between the pages. There has never been a better time than now to smell a book.
Sydney may be a delightful city in which one spends their time, but, let's face it, isn't it nice to get away too? Especially when you don't have to travel too far to get to something as rewarding as this year's High & Dry Festival.Only two hours north of Sydney on Aboriginal land this weekend is Australia's first festival run on 100% renewable energy (combination of solar, wind and bicycle power). Born from a makeshift, spontaneous event over New Year's Eve in 2007 when poor weather cancelled the Peats Ridge Festival, High & Dry returns to its own set of loyal fans and no doubt a whole bunch of new ones. And who wouldn't be a fan of a festival that boasts a focus on creative and performative arts and not just music. There'll be puppets, installations, markets and much, much more. That said, there's music too, with the likes of Entropic, The Barons of Tang and Combat Wombat treading the boards. They are but three of the one hundred acts programmed at this three-day event.There's bound to be an emphasis on sustainable community and intimate summertime magic this year at High & Dry.
Back in 2010, Ryan Gosling starred in a crime drama called All Good Things, playing a real estate heir suspected to be behind his wife's disappearance, as well as other murders. It isn't a highlight on his resume, but you'll see the feature very differently once you've watched six-part HBO docuseries The Jinx: The Life and Deaths of Robert Durst — because Gosling's character is based on Durst, and because filmmaker Andrew Jarecki directed both the movie and the series. True crime isn't a new genre, but The Jinx proved one of its big hitters when it was initially released in 2015. While it was originally airing, Durst was arrested on murder charges, with the criminal proceedings still ongoing to this day. Jarecki's series draws upon more than 20 hours of interviews with Durst, conducted over a number of years, and it'll drop you right into the middle of a twisty case. The minutiae is best experienced by watching, but the show's finale isn't easily forgotten.
Cinema has provided me with the basis of many of everyday fantasies, one of which is calorie-free ice cream. Despite being a largely superficial hollywood chick flick, one thing I found relatable in Roger Kumble's The Sweetest Thing was Christina's (Cameron Diaz) fantasy dream where she eats calorie-free ice cream and gets intimate with Mr Right. Now, bringing fantasy to reality is an American company, Vaportrim, which has invented a dessert-flavoured inhaler, proposing to aid weight-loss. Working with the sense of smell and taste, Vaportrim offers a means to satisfy a sweet tooth by making you feel full, and eat less. Through the process of inhaling smell, taste receptors send messages to your brain which release hormones that tell your body it's full. As Dr. Alan Hirsch of the Smell and Taste Treatment and Research Foundation puts it, "It’s all a matter of fooling the brain". Sticking to a strict diet regime can be difficult for those who desire to lose weight. With no calories and containing FDA-GRAS ingredients, even the most skeptical can rest assured that the product warrants little harm if inhaled. Coming in fourteen different flavours, including apple pie, milk chocolate and pina colada, Vaportrim sounds almost too good to be true. For those less inclined to follow weight loss gimmicks you might be interested to hear that the patent for Vaportrim is held by a man who owns the Adult Entertainment Broadcast Network, a pay-per-minute porno site. [Via Lost At E Minor]
His video collection is filled with 80s and 90s educational films. When we chat, he's staring at a Teddy Ruxpin doll. If anyone was destined to make Brigsby Bear, a delightful, insightful comedy about a fictional television show and its number one fan, it's Saturday Night Live star Kyle Mooney. With Mooney in the lead, his childhood pal Kevin Costello with him on co-screenwriting duties, and another of their friends, Dave McCary, in the directors chair, Brigsby Bear feels like it has been ripped not just from Mooney's mind, but from his heart. It's the most earnest and genuine film you could imagine about an adult discovering that his favourite show isn't quite what he thinks — one that isn't afraid to give nostalgia a hearty embrace while wading through dark terrain. It's also a perfect addition to a career that started with web sketches with his friends in comedy troupe Good Neighbour and segued into the most famous late night comedy show there is. Along the way, he's also racked up parts on Parks and Recreation, the US version of Wilfred and Hello Ladies. With Brigbsy Bear currently screening in Australian cinemas, we spoke with Mooney about turning his VHS obsession into a movie, getting the confidence to make the leap to film, and doing so with his best friends. ON FINDING INSPIRATION IN GREEK CINEMA AND 80s VHS TAPES "I don't know how it came to me — if I was just hanging around the house or in some sort of dream state or what, but I became really obsessed with this idea of a guy who watches a TV show that's being produced just for him," explains Mooney. "And I kept on thinking about that concept until eventually the story became not just that, but more about the world he explores after that, and outside of that." "There was a movie that came out a few years ago called Dogtooth. It has some similar qualities, with a family being raised in seclusion, so maybe that played a part. But generally I couldn't tell you where it came from, except from me being that obsessive myself, and watching these shows — I have a big VHS collection of kids shows, and I watch them over and over again." "It's mostly stuff that's made for kids, and mostly stuff from the 80s and 90s. I especially really like stuff that was released straight-to-video, and was produced regionally. And where there's maybe only 200 copies made. Educational films, religious videos, stuff like that. What I really like is when it has a low budget, and low production values, but you can tell that whoever's in charge of this thing is trying to do their best impression of Jim Henson or Walt Disney — and it's totally not working." https://www.youtube.com/watch?v=Sgs81IOU0m4 ON MAKING THE LEAP FROM SHORTS, TO SNL, TO HIS FIRST FEATURE FILM "I started working on videos with Dave, our director, in my early 20s — right out of college. And with every video you learn something. And then, after a few of them you start trying new things, and you add people to the crew, or maybe start to put a little more money into the production. So it was kind of a gradual build where the stakes rise a little more each time." "By the time we got SNL — I went there with Dave and with Beck Bennett, who's a cast member who is also in our movie — again, there is a little more pressure at it, but you get used to it. And now you're working with a huge celebrity host each week! And you do that for a few years, and it has been building so that, by the time we were on set last summer shooting the movie, I felt pretty prepared." ON MAKING A MOVIE WITH HIS CHILDHOOD BEST FRIENDS "We had all of these shared experiences. With Dave and I, like, there was this very specific kid who went to middle school with us. And I can just be like, 'Jim said this in science class in 1998', or whatever it is, and we can get a laugh out of it. And there's just a level of trust that's there, I think, when Dave is directing me. He knows what I'm capable of. We have the same sensibilities, pretty much." "So it's easy for me, and I think it relieves a lot of the pressure of working on something and not knowing how it is going to turn out. We're also all in it together — and we fail together and we succeed together. But yeah, certainly like having so much history and sharing a sensibility helped." "And I had enough fun on that set that I felt like, 'if this is all we get out of it, I feel pretty good'. Even if the movie didn't turn out well, I would've just considered it a rad summer where we got to work on something together. When we weren't shooting, we would hang out in our hotel rooms or get beers or sing karaoke. It was truly a wonderful crew and cast, and it's nice that what comes through on screen is true to what the experience was like." ON THE FILM'S EARNESTNESS AND OPTIMISM "We have so much genuine love for the things we were trying to recreate. The Brigsby show that's in the movie — I love children's entertainment, and we never wanted to poke fun. I think we always really wanted to pay tribute to it." "And also, the film's underlying theme of creativity, or storytelling, or finding something that you love — we never felt like we wanted to make fun of that. We just wanted to embrace it. We just really liked the idea of playing everything earnest and honest, and hoped the laughs would come along naturally along the way." https://www.youtube.com/watch?v=1MdrGM27yQ8 Read our Brigbsy Bear review.
Sprawling over volcanic hills and boasting not one, but two harbours, Auckland may be New Zealand's largest city, but it still offers hidden corners to get away, without having to hit the highway. With lush native rainforests and black sand beaches in the west, sheltered golden sand beaches in the east, and a cultural hub of a CBD packed with eclectic eateries, it's hard to find a dull moment Tāmaki Makaurau. Visiting is truly a rare experience — one moment, you're hiking through rugged bush, staring across stunning sea-views, and an hour later, you can be strolling through Auckland Art Gallery Toi o Tāmaki or having a cocktail at a lively inner-city bar. There really is something for everyone in this picturesque and culturally diverse city. So, whether you're travelling from across the pond in Australia, or you're a Kiwi yearning for a staycation, we've pulled together ten of the most unique stays for your next break. Recommended reads: The Best Places to Go Glamping in New Zealand The Best Places to Go Glamping in Australia The Most Unique Stays You Can Book Around New Zealand The Most Unique Stays with Breathtaking Views of New Zealand's South Island NZ Summer House, Riverhead This one bedroom pool house is situated on a equestrian lifestyle property 30 minutes from Auckland's CBD. Close to vineyards, award-winning restaurants, West Coast beaches and popular bush-walking spot Riverhead Forest, it's the perfect place to park up for a mix of adventure and relaxation. From $271 a night, sleeps two. Piha Hut, Piha This newly built one bedroom house is nestled amongst Nīkau palms in Piha, a seaside spot known for great surf, rugged scenery and nearby waterfalls. The sheltered deck looks onto Lion Rock, a volcanic monolith with Māori carvings and war memorials. From $118 a night, sleeps two. Piha Retreat, Auckland Designed by internationally acclaimed architect Chris Tate, this retreat house is perched amongst native rainforest and boasts some of the area's most epic views of Lion Rock. Watch the sun go down from the outdoor bath, while your companion cooks up dinner on the deck's barbecue. From $248 a night, sleeps four. NYC Style Loft, Auckland If you're after a chic urban stay a stone's throw to restaurants and bars abounds, this industrial warehouse style apartment may be your next city getaway spot. From $135 a night, sleeps four. Luxury Piha Escape, Piha This architecturally designed abode with sweeping sea views is perfectly positioned on Piha, Auckland's world famous surf beach. With two bedrooms, an open plan living room and a massive timber deck, it's a perfect oasis for a beach getaway with friends. From $769 a night, sleeps eight. Relaxing Coastal Retreat, Manukau Heads Live out your castaway dreams at this coastal cabin positioned on a small farm. If the driftwood fence isn't enough to get you excited, the outdoor bathtub, sea-views and close proximity to a winery and golf club just might. From $190 a night, sleeps two. Alfriston Stables, Alfriston Transformed from unused stables to a jaw-dropping industrial-style loft, this country escape has everything you need for rural R&R. Perched at the end of a tree-lined lane, with moody renovated interiors, a large swimming pool and a desk for your leisure. From $124 a night, sleeps two. Blackpool House, Waiheke Island This secluded home set amongst the magnificent Taraire trees is an architectural wonder. The spacious structure melds a contemporary sensibility with a retro interior that makes for a warm and inviting stay. Be sure to take full advantage of the naturally lit mezzanine library that looks out on Te Huruhi Bay. From $390 a night, sleeps two. Te Kouma Heights Glamping, Manaia Find luxury off the grid in this tent for two with endless ocean and farmland views. Enjoy fully equipped solar power, a king bed and two claw-foot outdoor tubs facing the glittering Coromandel Harbour. From $330 a night, sleeps two. Coastal Acres Escape, Āwhitu Journey through rolling green pastures and whites sans at this home on the Tasman sea. Just an hour and a half outside the Auckland CBD and tucked between towering dunes, your worries will was away in these double claw foot baths with perfect views for a sunset soak. From $207 a night, sleeps six. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Calling all nomads and avid campers: a Japanese company called DCW has designed a mobile pod home that will fit in a mini van and can be assembled on any terrain. The pod allows you to choose your own style of living while still being at one with nature, and can be placed on flat ground, steep hills or even turned into a kit houseboat if you feel like taking to the sea. The manufacturer has said it can be easily built "by two women" in half a day but may take a little longer to pull it down, possibly a whole day. Don't let its size fool you; this mobile house may look extremely tiny but it can sleep up to 3 people when you manoeuvre the sofa bed in the right way. The Mobile House Kit has yet to be given a price tag, but surely if you love the outdoors and want to experience nature in style then it will be worth breaking the budget for.
Water repulsion is all the rage at General Electric right now. New hydrophobic, durable coatings that repel liquid could increase energy efficiency across all kinds of machine-based industries. While this is a great advance for technology, a pleasant offshoot is beauty: cue mesmerising slo-mo video of glittering droplets, artfully scattering and dancing in unison. To develop a superhydrophobic coating, GE's chemists looked to nature's own superhydrophobicity and specifically the "lotus effect" — the way raindrops stay intact and roll off lotus leaves without adhering or soaking in, thanks to nanoscopic hairs on the leaf surface. If you could harness this water-repelling power of the lotus, what would you do with it? GE's wind turbines and other machinery adversely affected by ice and moisture build-up will benefit from the coating, and a path ahead is also clear for self-cleaning and anti-fouling materials. Below, watch as the cute, scruffy Slow Mo Guys wear lab coats and utter sweet nothings with their British accents, all while applying macro-lens scrutiny to liquids bouncing off a superhydrophobic coating. This bouncing (or "splooshing" as the guys eloquently put it) creates tumbling, flower-like formations that expand and retract. Marvel as they mess around with food dye, back-lighting and ferrous liquid. It's not unlike the famous Sony Bravia bouncy ball ad, enhanced by an emotional synth soundtrack and the shape-shifting elasticity of water. Via Gizmodo.
This June celebration of all things punani, foo foo and vagina has one message — love your lady parts! Philip Werner's photographic exhibition, 101 Vagina, and the Festival of the Vagina are en route to Redfern so "get your bits out, they're all fine" (if you watch the promo video that should make more sense). The exhibition is from Werner's coffee-table book of the same name, which features black-and-white stills of full-frontal vaginas and accompanying messages from the subjects. The show will be up for three days at 107 Projects in a bid to not only celebrate but redirect the plight of the forgotten vagina. Tied up in all kinds of taboos, mandatory porno airbrushing and a dramatic increase in labiaplasty, it sounds like the old girls could use a breath of fresh air. So feel free to giggle, scream or get naked (but don't say it came from me). 101 Vagina is also the centrepiece for an all-day vajayjay fest on Saturday, June 29. The Festival of the Vagina will unite educators, performers, artists, journalists and the rest of us with the noble goal of taking the shame out of vagina. Did I mention there is also a ukulele band called the Three Sisters Katoomba? Awesome. Check out the full line-up at the 101 Vagina website.
2021 marks 23 years since '...Baby One More Time' rocketed up Australia's charts, and made sure that everyone in the country knew who Britney Spears was. In the decades since, the singer has enjoyed a slew of other hits, thanks to everything from 'Sometimes', '(You Drive Me) Crazy' and 'Oops!... I Did It Again' to 'Toxic', 'Everytime' and 'If U Seek Amy'. Yes, you now have at least one of these songs stuck in your head (or, let's be honest, a medley of all them). This year also marks the arrival of a must-see documentary about the pop star, which Aussies have heard plenty about but have been unable to watch for the past month. Part of The New York Times Presents series that streams in the US via Hulu, Framing Britney Spears examines not only the singer's life since she was a child — going back to before her first hit single, and before her time on The All-New Mickey Mouse Club in the early 90s, too — but also the way she has been treated in the press, the fact that she has been under a conservatorship since 2008 and the #FreeBritney movement that's sprung up in response to the latter. Not by her own choice, Spears has been an almost-constant presence in the tabloid media for nearly quarter-century. The paparazzi has covered her every move and career with disturbing intensity, in fact. Everyone knows the details, because they've been plastered all over magazine front pages and internet headlines for years and years, to the point that they've been impossible to avoid. And, as this doco ponders, it's easy to join the dots between the relentless hounding by photographers, the endless mentions in gossip columns, the ridiculous way Americans reacted when she didn't meet their idea of what a 'girl next door'-style pop star should be, how she has been regarded by pop culture in general and how the US legal system has stripped away her right to control her own life for more than a decade. The film makes for important and grim viewing — and, although it premiered in the US in early February, Channel 9 just aired the Hulu doco this past week, and has also made it available on its online service, 9 Now. So, you can now spend 71 minutes stepping through a story that hasn't ended yet and doesn't wrap up happily in the movie, but is rightly sparking a reassessment of how female celebrities — and young women in the spotlight in particular — are treated, Spears included. Check out the Framing Britney Spears trailer below: https://www.youtube.com/watch?v=_GEa844LCoI Framing Britney Spears is now available to stream on 9 Now.
Just six months after opening his first solo venture, Jared Merlino (co-owner of Big Poppa's, Kittyhawk and Lobo Plantation) is already changing this up. Bartolo (FKA Caffe Bartolo) has just reopened with a new name, a new interior and a new menu to boot. As part of the all-day eatery's revamp, the venue now features a 13-seat bar space, which has launched alongside the approval of the bar's PSA licence — allowing punters to drink without having to order any food. When you visit, expect a sleek fit-out with walnut floorboards and high tables, along with a cocktail menu that spans spritzes ($15), classics ($14–20) and signatures ($22). The menu changes with the season and has been created by the group's lauded head bartender, Grazia Di Franco. At the moment, there's a Vermuttino spritz (vermouth, lemon myrtle and soda), the Rain cocktail (tequila, two types of vermouth, verjus and golden beetroot), the Merino Wool (sherry, cognac and vermouth with apple, almond milk and egg whites) and the Fireplace (Rinomato Aperitivo and Americano Bianco with plum, cacao and earl grey), which is served hot. Over at the dining room, Merlino wanted to serve up something that Crown Street didn't already offer. For that, he called in chef Teofilo Nobrega, who spent the past 13 years working at Potts Point's Fratelli Paradiso. When creating the food menu, Nobrega's aim was to create a lineup of dishes that you could happily spend 17 hours — how long the cafe's open for each day — eating. And, indeed, you can. For lunch and dinner, there are grilled lamb rump skewers with rosemary and garlic ($15), locally made burrata with white anchovy ($18), charred octopus with salsa verde and pickled onion ($23) and pan-fried Spanish mackerel with asparagus and celeriac puree, ($26). Pair these with one (or both of) the house-made pastas — at the moment, those include the tagliolini alla sorrentina with buffalo mozzarella ($21) and the duck ragu pappardelle ($31). And don't forget a serve of the veal and pork meatballs in tomato sugo ($15), which is made using a recipe from Merlino's nan. On weekends, head in for the regularly changing brunch specials, with house cocktails available from 8am — including the bloody mary, mandarin and prosecco mimosa, espresso-based Coffee Break and a campari and grapefruit concoction. For eats, enjoy the likes of brekkie meatballs with poached eggs and parmesan, or brioche French toast with apple and rhubarb compote and mascarpone. For weekday breakfast before heading into the office, the espresso bar is open from 7m till 3pm, at which you can grab Gabriel coffee and a pastry from Organic Bread Bar. Images: Kitti Gould Words by Samantha Teague and Marissa Ciampi
In Disney's non-stop quest to not only remake its animated hits, but to make them look as lifelike as possible, the Mouse House has already brought Dumbo, Aladdin and The Lion King back to our screens so far this year alone. But it's not done yet, with the company's new streaming platform set to welcome another high-profile do-over before the end 2019: a live-action version of Lady and the Tramp. To answer the question you've all been wondering, yes, it'll feature real spaghetti and meatballs. In all seriousness, the film does actually star real dogs — not photo-realistic canines cooked up by a special-effects team. The adorable pooches have still be given human voices, as the first trailer showed a few months back, with Tessa Thompson lending her tones to everyone's favourite pampered pupper and Justin Theroux doing the honours for her street-smart love interest. Playing an American cocker spaniel and a schnauzer, Thompson and Theroux aren't the only big-name talents going to the dogs. A Star Is Born's Sam Elliott gets gravelly as a bloodhound, Catastrophe's Ashley Jensen is a Scottish terrier, Avengers: Endgame's Benedict Wong voices a bulldog and Janelle Monae pops up as a pekingese. They're joined by a few cast members who are sticking with their two-legged forms, including Hearts Beat Loud's Kiersey Clemons, Me and Earl and the Dying Girl's Thomas Mann, and Community co-stars Yvette Nicole Brown and Ken Jeong. Story-wise, the film wags the same tale, as the upper middle-class Lady crosses paths with, eats pasta with and learns to appreciate the whole wide world with a downtown stray called Tramp. In the just-dropped second trailer, viewers can get a glimpse of more of their antics — and more of the other cute canines they interact with on their action-packed journey. Directed by The Lego Ninjago Movie's Charlie Bean and co-written by US indie filmmaker Andrew Bujalski (Computer Chess, Results, Support the Girls), Lady and the Tramp will sport a few changes when it drops on Disney+ upon the service's November launch, however. Monae is reworking 'The Siamese Cat Song' to remove the original's offensive connotations, and will also perform two new tunes for the soundtrack. Check out the latest trailer below: https://www.youtube.com/watch?v=P4NtWb4WX20 The live-action Lady and the Tramp remake will be available on Disney+ when it launches Down Under on November 19.
Bondi welcomes a new drinking, dining, and hang-out spot, just in time for the summer months, as Pavilion Social opens on level one of the Bondi Pavilion. When you need a break from the sand but don't want to go far, head upstairs to Pavilion Social, located right behind Bondi Beach, for ocean views, refreshing drinks, tasty bites and feel-good vibes. For sunny afternoons that turn into long, warm nights, Pavilion Social offers leisurely lunches, sunset drinks, relaxed dinners, live music and more, all with unmatched sweeping views of iconic Bondi Beach. The menu is snacky and straightforward, think bread and dips, freshly shucked oysters, prawns with cocktail sauce, marinated olives and kingfish crudo. Sea salt crisps with mortadella and peppers, or charcuterie with pickles, are the perfect accompaniment to a round of Bondi Breezers with vodka, pineapple, lime, agave and soda. If you're hungry after a big day in the surf, go for a prawn roll with yuzu koskō mayo, or a cheeseburger with sea salt fries. A range of frozen cocktails, such as the Coastline Marg, or the Peachy Frosé with rosé, peach liqueur and grapefruit soda, are sure to be the perfect antidote to a scorching summer's day. Images: Supplied.
It sure is no secret that Sydney's a pretty exxy place to call home. But here's some news to make you really start plotting that move interstate: a recent report on the cost of living has stuck it right up at number 10, above both New York and London. That's right, all your mates battling those killer Hackney rent prices now, apparently, have it better than you. As The Guardian reported this week, the Economist Intelligence Unit's 2018 study pushed our harbour city up four spots higher than in the same list last year, seeing it crack the top ten for the first time ever. This comes after another pice aggregation website Numbeo saw Sydney and Melbourne move up on its list too. The study compared prices across more than 150 products and services, looking at things like food, transport, utilities, clothing and rent in all the major cities. Singapore has again claimed the title of the world's most expensive city, followed by Paris, which jumped five points, and Zurich, which climbed one position. New York swapped last year's number nine ranking for a spot in 13th, while at number 30, London scored its lowest position in two decades — a fall the report's authors say has a lot to do with a little thing called Brexit. Via The Guardian.
The focus of yoga trends seems to be constantly changing — from beer yoga to hip hop yoga and rooftop yoga to farmside yoga, we thought we'd seen it all. Now, Dubai's Atlantis The Palm is bringing 'underwater' yoga onto the scene. Before you think about holding your breath while doing a submerged upward dog, the class isn't quite as complicated — or as cool — as it sounds. The yoga course is not held in the water, but instead it takes place inside a tank-like room called the Ambassador Lagoon. The Lagoon sits within the resort's Lost Chambers Aquarium, a 17-hectare openair marine habitat that boasts over 65,000 sea creatures within a massive maze of underwater corridors and passageways. The 250-plus salt and fresh water species include sharks, eels, rays and piranhas, as well as hundreds of exotic fish. That's a whole lot of marine life on call to sit audience to your meditation. The all-levels, 20-person class runs every Tuesday and Friday. Each ticket includes a yoga mat, bottle of water and valet parking, which we guess is what puts the price up at 120 Dirham (around $44 AUD). The lavishness of the course is no surprise coming from this 46-hectare luxury resort. Being in a darkened room surrounded by shimmering water and peacefully floating sea animals does sound quite relaxing, and, although there won't be any actual underwater feats involved, we don't think it would be quite as calming in practice anyway. Post-yoga, there's always the 18 million litres of fresh water which powers waterslides, river rides, tidal waves and pools to entertain yourself with. Underwater yoga is held at Atlantis, The Palm in Dubai. If you're heading there any time soon, visit their website for more information and bookings.
The team behind Circular Quay's new multi-level venue Hinchcliff House is set to open an all-day cafe, bakery and bistro called Bondi Promenade in the newly renovated Bondi Pavilion. Tenancy of the Shop Four site within the precinct was awarded to House Made Hospitality's Scott Brown, Justin Newton and Stephen Seckold. Waverley Council announced the list of dining and retail tenants for the soon-to-open precinct earlier this month. Bondi Promenade will serve coffee and freshly-baked goods to beachgoers while offering a casual bistro dining experience featuring charcoal seafood and vegetables, with something available "for everyone and at every price point", according to Brown. Light healthy breakfast options, pizza-style flatbreads and seasonal fruit gelatos designed for a summer's day are all planned for the venue's menu. Other tenants at the building include clothing brand Between the Flags, previous tenant Surfish Cafe and Glory Days Bondi, a sister venue of North Sydney's Glory Days from the owners of Glorietta and Woolpack Hotel. "The Bondi Pavilion is truly an iconic building and we're excited to be opening our doors here with Glory Days, with a design that is both fresh and respectful of this incredible heritage building," Glory Days' Aaron Crinis said. The restoration and conservation of Bondi Pavilion was first announced back in 2015 and is now set to be completed early next year with expansive refurbishments to the building and its existing rooms, plus a new grand entrance and new toilets, showers and change rooms. The full plan for the historic building includes several new cultural facilities alongside the improvements made on the building's facade and facilities, with the beachside spot set to feature a new art gallery, community radio station, pottery studio and a flexible cultural space. [caption id="attachment_810676" align="alignnone" width="1920"] Grana at Hinchcliff House[/caption] Bondi Pavilion is located at Queen Elizabeth Drive, Bondi Beach and is set to reopen early next year. You can stay up-to-date with the building's refurbishment at the Waverley Council's website.
A drug kingpin disappearing into a new life, clashing cousins, voting popes, a veteran actor trying to reclaim her career with the help of a mysterious liquid, Adrien Brody surviving history's horrors again, fierce tennis competitors: films about all of the above have earned Golden Globes in 2025. Stressed-out chefs, stand-up comedy greats, Japanese warriors, Gotham villains, determined detectives: TV shows about them are all also in the same category. And, they each have a heap of company. Held on Monday, January 6 Australian and New Zealand time, this year's Golden Globes ceremony started with host Nikki Glaser cracking gags about everything from Dune: Part Two's running time to Nicole Kidman making awards-nominated work to get away from Keith Urban's strumming and Adam Sandler pronouncing Timothée Chalamet's name. It then threw in excited shouts and enthusiastic speeches aplenty among the winners. Picking up the first award of the night — but not the only award for Emilia Pérez — Zoe Saldaña (Special Ops: Lioness) delivered both alone. Other highlights from the hijinks: Catherine O'Hara (The Wild Robot) and Seth Rogen (Mufasa: The Lion King), co-stars in upcoming streaming series The Studio, making up a whole lot of accolades for fake Canadian projects; The White Lotus favourite Jennifer Coolidge being Jennifer Coolidge; Emilia Pérez songwriter Camille calling the whole shebang "such an American experience"; and Vin Diesel (Fast X) starting his presenting stint with "hey Dwayne". And more standouts among the awards: gorgeous Latvian independent animation Flow taking out its category, in the first time that a movie from the nation has been at the Golden Globes; Kieran Culkin winning the supporting actor Succession battle for A Real Pain over Jeremy Strong for The Apprentice; Shogun's well-deserved swag of gongs; Demi Moore's touching sentiments about believing in your own value; A Different Man winner Sebastian Stan demanding that tough films still get made; and also Feranda Torres emerging victorious for I'm Still Here over Nicole Kidman (Babygirl), Pamela Anderson (The Last Showgirl), Angelina Jolie (Maria), Tilda Swinton (The Room Next Door) and Kate Winslet (Lee). Not every ace nominee could snag a statuette, of course. Not every worthy movie and TV series even made the roster of contenders. They're truths that everyone should remember at every awards ceremony. Still, the rundown of newly minted 2025 Golden Globe winners spans an array of deserving folks and projects — and comes in less than a fortnight before the Oscars joins in, announcing its nominees on Saturday, January 17 Down Under time. Will the Academy Awards follow in these footsteps? And the Emmys later in the year, too? What else received some love? Here's the full list of 2025's Golden Globe winners and nominees (and you can also check out our rundown of victorious films and TV shows to watch right now): 2025 Golden Globe Winners and Nominees Best Motion Picture — Drama The Brutalist — WINNER A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez — WINNER A Real Pain The Substance Wicked Best Motion Picture — Animated Flow — WINNER Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked — WINNER The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez — WINNER The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here — WINNER Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance — WINNER Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man — WINNER Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist — WINNER Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave — WINNER Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers — WINNER Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez — WINNER 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun — WINNER Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks — WINNER Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer — WINNER Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun — WINNER Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun — WINNER Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks — WINNER Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country — WINNER Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin — WINNER Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer — WINNER Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun — WINNER Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady — WINNER Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes were announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
The nine to five can be tough. Sometimes there's just too much to do, and not enough time to do it — and sometimes you just struggle to put a sentence together without any typos. But before heading to the cafe next door for another short black, you might want to consider Silicon Valley's pick-me-up alternative: psychedelics. Yep, acid is the new caffeine. It's called 'microdosing' and apparently it's the new thing for overachieving, overworked Silicon Valley yo pros to partake in when they're having a bit of an off one. It involves taking about a tenth of the 'normal' dose of a psychedelic drug (usually LSD or mushrooms) which has an energising and insightful 'subperceptual' — rather than a tripping — effect on the body. And, according to this Rolling Stone article, it's helping them concentrate, and be more productive and creative at work. The concept itself isn't entirely new. Author of The Psychedelic Explorer's Guide James Fadiman introduced microdosing into the mainstream when speaking at a psychedelic research conference back in 2011. Since then, however, the practice has become more widespread, particularly with twenty-something professionals in the San Francisco area, according to Fadiman. Although the dose of the (illegal) drugs is minute, their effects are still hard to predict. So for now, perhaps stick to your single origin coffee beans and a selection of cat GIFs to get the creative juices flowing. Via Rolling Stone.
Film festival envy: it's a real thing. If you've spent the past week or so wishing that you were sitting in a darkened room in Austin, Texas, then you know what we're talking about. South by Southwest is fast becoming that other American film fest worth paying attention to at this time of year — if a potential indie hit or buzzy title isn't ready for Sundance, it'll likely turn up here. Indeed, the 2017 program featured more than 125 films on 13 screens over 9 days. Now that's some epic viewing. When you consider some of the movies that made the cut, you might agree. Edgar Wright's Ansel Elgort, Jon Hamm, Jamie Foxx and Kevin Spacey-starring Baby Driver made its debut at SXSW, as did the John Wick-meets-Lucy sounding Atomic Blonde with Charlize Theron. They're among the flicks we know we'll see in Australian cinemas, although we'll have to wait until August to do so. With the festival also highlighting a wealth of potential future cinematic classics, here's ten others we're hoping make it to Aussie screens too. SONG TO SONG Featuring an all-star cast that includes Ryan Gosling, Michael Fassbender, Rooney Mara, Natalie Portman, Cate Blanchett and Val Kilmer, put Song to Song in the safe bet category. Terrence Malick's movies usually find their way to Australia, even if they only make it to a handful of screens in a handful of capital cities like his last two features, To the Wonder and Knight of Cups. Here, the always divisive, suddenly prolific filmmaker behind Badlands and The Tree of Life tells a tale of two couples set against the Austin music scene, complete with appearances by Florence Welch, Patti Smith, Iggy Pop, The Black Lips, Tegan and Sara and more. As for whether he's balanced his usually gorgeous visuals with a meatier narrative, all signs point to no — but, love him or hate him, that's one of the things that has made his recent work absolutely unmissable. THE DISASTER ARTIST Oh hi, The Room fans. Now, before anyone starts throwing a football back and forth, add The Disaster Artist to your list of must-see movies in 2017. It's another movie certain to hurtle towards an Australian cinema soon, and to have spoons hurtled at it as a result. James Franco (who else?) not only stars as Tommy Wiseau in this behind-the-scenes look at the film everyone loves to not really love, but also directs a cast that features Dave Franco, Seth Rogen, Alison Brie, Sharon Stone, Jacki Weaver, Zac Efron, Bryan Cranston… the list goes on. If you lapped up Wiseau's so-bad-it's-still-bad flick, there's a very big chance that you'll do the same with this as well. MOST BEAUTIFUL ISLAND First things first: Most Beautiful Island won SXSW's narrative feature competition, an honour that the likes of Short Term 12 and Lena Dunham's Tiny Furniture previously achieved. The first feature from Spanish actress turned writer/director Ana Asensio, it follows one day in the life of Luciana — played by Asensio — as the immigrant to the US tries to make ends meet. Sounds timely, doesn't it? How could it not. With a game afoot, and the chasm between the privileged and the struggling part of the story, it also sounds like an intriguing thriller INFLAME Critic turned filmmaker Ceylan Ozgün Ozçelik makes her feature debut with a partly crowdfunded thriller that's both immersed in modern-day Turkey in its story and universal in its themes. Screening at SXSW after its Berlinale premiere, Inflame explores a subject the world has had to hear too much about of late, and often in all caps tweets. No prizes for guessing that we're talking about fake news. Here, a television news video editor is forced to tow the line when the powers-that-be decide that the station should no longer comment on politicians. To say that paranoia starts to set in is quite the understatement. SMALL TOWN CRIME If there's one thing that Small Town Crime boasts in spades, sight unseen, it's an interesting cast. Deadwood and Winter's Bone star John Hawkes plays an ex-cop turned unlikely detective when he comes across the body of a dead young woman, and he's joined by two-time Oscar nominee Octavia Spencer, plus Anthony Anderson, Robert Forster, Clifton Collins, Jr. and Michael Vartan. More Hawkes on screen is always a good thing. More Hawkes in the lead, even better. Writer/director siblings Eshom and Ian Nelms clearly agree, and you can bet their pulpy effort is all the better for it. [caption id="attachment_614358" align="alignnone" width="1920"] Noël Wells/Twitter.[/caption] MR ROOSEVELT Watched Saturday Night Live in recent years, or Netflix's Master of None? If so, you should recognise Noël Wells. As well as doing great things on screen, she's made the leap behind the camera, writing and directing the feature Mr Roosevelt. Actually, she stars too, playing a struggling comedian who returns to Austin after a loved one falls ill, and does what everyone does when they're forced to head back home: runs into an ex. Yes, films set in Austin are a trend at SXSW. And yes, the premise sounds familiar; however expect Wells to give everything some extra spark. FITS AND STARTS In 2015, Laura Terruso co-wrote the script for the endearing Hello, My Name Is Doris, which was actually based on her short film. With Fits and Starts, she takes on helming duties on her first feature — and, if you haven't already guessed it, providing ace up-and-comers with a platform for their debut efforts is something else that SXSW excels at. Story-wise, the movie follows a struggling writer and his much more successful wife as they attend a gathering at her publisher's home, with hijinks ensuing. It has been compared to Martin Scorsese's '80s comedy After Hours, which is great news indeed. GEMINI Sorry, Girls fans — Lola Kirke is fast becoming the family's standout screen talent, with Gemini the latest piece of evidence to support that inevitably controversial opinion. This neo-noir casts the Mozart in the Jungle star as a personal assistant to Zoe Kravitz's Hollywood celebrity, then plunges the two into the middle of a crime mystery, complete with John Cho as a detective. Sure, Los Angeles and seedy happenings seem to go hand-in-hand in film, but the combination seems to work. And, in this case, it seems primed to showcase Kirke's talents, with folks at SXSW well and truly singing her praises. DAVID LYNCH: THE ART LIFE With season three of Twin Peaks less than two months away from hitting our TV screens (yes, of course we're counting), there's never been a better time to delve into all things David Lynch. Let's grab some cherry pie, a cup of coffee and call it a damn fine time, actually, although this documentary isn't about his recent efforts. Instead, watch and listen as the filmmaker takes you on a tour of his upbringing, efforts to make Eraserhead 40 years ago, and artistic and musical output. Don't expect any answers — Lynch famously likes to let his work speak for itself, rather than speak about it — but do expect to spend an enjoyable time in the inimitable master auteur's company. I AM ANOTHER YOU After making this year's Academy Award shortlist for Best Documentary for her debut Hooligan Sparrow, Chinese filmmaker Nanfu Wang returns with I Am Another You. Meeting 22-year-old homeless man Dylan is just the beginning of her second effort, with the charming drifter taking her on a journey — not only through his life in Florida or his rejection of society's norms, but through that much-sought-after idyll known as the American dream. If it takes an outsider's eye to tell this tale then Wang has it, with her own experience as a newcomer to the US forming part of the package. Airing in SXSW's doco competition, the end result received special jury recognition for excellence in documentary storytelling.
With every innovative project, we're discovering more about crowdfunding's potential to change the world. Large-scale malaria prevention, ultra-accessible tech and ethically manufactured clothing have all inspired generous donations from the pockets of the people. Rather than waiting for cashed-up corporate giants to give us what we want when it comes to socially conscious products and services, we've been taking matters into our own hands. Now, not-for-profit organisation Immunity Project has turned to Crowdhoster for help in the development of a HIV/AIDS vaccine. Partnered with the Until There's a Cure Foundation and supported by Y Combinator, the venture has some heavyweight backing in its favour. Here's how the vaccine works: A team of Stanford, Harvard and MIT scientists has been studying 'controllers' — the 1 out of every 300 people who can catch HIV yet never develop full-blown AIDS. The virus stays in their system in an inactive state. To cut a long (and complex) story short, controllers are the way they are because the 'rifles' in their immune systems are able to accurately attack HIV's biological markers, rendering the virus dormant. Non-controllers have the 'rifles' but their targeting skills are amiss. Through advanced machine learning, the scientists have managed to reverse engineer the controller's biological processes. Over the past few years, a vaccine prototype has been developed and successfully tested in laboratories. The next step is to prove that it can immunise human blood. Enter crowdfunding. Once that's taken care of, Phase I clinical trials will begin with the FDA. First dosing is scheduled to happen in Africa in June 2015. And the even more excellent part? The vaccine will be distributed for free. In fact, the Immunity Project team is committed to saving lives in sub-Saharan Africa, where access to retroviral drugs just isn't financially viable. More than 35 million individuals worldwide live with HIV. Every single day, another 7,000 are infected and more than 4,000 die. Since 1983, almost 30 million people have been killed by AIDS. https://youtube.com/watch?v=V231hDemqeo Via PSFK.
Sure, the animal heads adorning the walls of Shady Pines are pretty cool. And I like the faux Andy Warhol studio decor of the Oxford Art Factory as much as the next person. But when it comes to mind-boggling designs, wacky themes and unique going-out experiences then these ten bars are a cut above the rest. For many bar-owners, the humble "pub" is not simply a local watering hole or after work hideaway but a sanctuary for unreal creative expression and a place where your most bizarre and bewildering fantasies can become a reality. Here we present ten of the weirdest and most wonderful bars from across the globe with themes ranging from a mental asylum to under the sea and unbelievable locations such as inside a 6,000 year-old tree to a giant coffin. Check out the photos below to see what a little bit of imagination, an incredible locality and a whole lot of money can do to transform your average bar into something straight out of a Stanley-Kubrick-on-LSD dream. HR Giger Bar Where: Chur, Switzerland Designed by the manic genius that is Swiss artist H.R. Giger, Switzerland's two Giger bars are modeled on the artist's most famous creation: the nightmarish, intergalactic creatures in Ridley Scott's sci-fi masterpiece Alien. With its giant skeletal arches and torture device chairs, a trip to the Giger bars is an eerie and unnerving experience and provides customers with the distinct feeling that they have been transported into the belly of one of Giger's grotesque alien creatures. Alux Lounge Where: Playa del Carmen, Mexico If descending into the belly of the beast is not your idea of a good time then perhaps descending into a bar carved into an underground cave is more tempting. The bar is not one but a whole system of interlocking caves, with each cave playing host to a different form of nocturnal entertainment, and every room filled with an arresting array of stalactites and stalagmites that surround you on all sides. The Clinic Bar Where: Singapore As the name suggests, the Clinic Bar is a hospital-themed pub that pushes the boundaries of the imagination almost as much as it pushes the boundaries of taste. Some of the medical-themed highlights of this strange establishment include gilded wheelchair seats, hospital bed booths, operating room light fixtures and most peculiarly, drinks served in IV bags and test tubes. Red Sea Star Bar Where: Eliat, Israel While oceanic themed bars and restaurants can be found in just about every seaside town, the Red Sea Star Bar not only resembles an underwater palace but it is in fact located six metres under the Red Sea. Although it may sound camp and kitsch, the combined effect of the sand and sea urchin decor along with the panoramic views of the Red Sea's beautiful coral and sealife provides for an enchanting and fantastical experience unlike any other bar in the world. The Sunland Pub Where: Limpopo Province, South Africa The pub itself is really not much to look at. Consisting of a dusty old dart board, a collection of rusted knick-knacks and the tiniest of bar tables, the Sunland Pub resembles nothing more than a derelict family bar. Yet travelers and locals alike have been known to line up for hours at a time to get a peak of The Sunland Pub thanks to the fact that this remarkable pub is located in a giant Baobab tree. The tree is estimated at being more than 6,000 years old making it one of the world's oldest living trees. Sky Bar Where: Bangkok, Thailand Bangkok has become globally renowned for its beautiful collection of rooftop bars scattered across its sprawling metropolis. None of these bars however bare any comparison to the most famous of them all: the super-ritzy and unbelievably spectacular Sky Bar. Suspended above the city at a staggering 63 floors, the Sky Bar provides visitors with 360 degree views of the city and the majestic Chao Phraya River. Alcatraz ER Where: Tokyo, Japan The weird and wacky tastes of Japanese party-goers has meant that Tokyo has become a hotbed for some truly bizarre themed bars. One of the city's oldest and undoubtedly one of its most deranged is Alcatraz ER, which provides visitors with an experience somewhere between a One Flew Over the Cuckoo's Nest style mental asylum and a medieval dungeon (no, actually). Customers are locked and chained up in prison cells, while waitresses dressed as nurses serve cocktails with names like "Acute Mental Stabilizer" and men with giant syringes terrorise the unsuspecting visitors. A class act through and through. Eternity, The Coffin Bar Where: Truskavets, Ukraine On the theme of politically incorrect bars is the Ukraine's disturbing and aptly named "Eternity", which was designed to resemble a giant coffin. If the thought of drinking away your sorrows in the world's largest coffin doesn't scare you off then perhaps its equally chilling interior might, with the bar decked out with a highly tasteful collection of small coffin tables, novelty sized wreaths and cathedral-like lighting. Ice Bar Where: Stockholm, Sweden The thought of an ice cold drink in an ice cold bar has taken the world by storm with ice bars popping up in major cities all over the world (including Sydney's very own Ice Bar and Minus5). The original, however, was Stockholm's Ice Bar, in which everything from the bar stools to the glasses you drink from are made from ice harvested from Sweden's Torne River. With the bar set at a frosty -5 degrees celsius and surrounded in Stockholm's stunning winter wonderland, this bar is the perfect place to chill out and grab a couple of cold ones. NASA Pub Where: Bangalore, India With waiters and bartenders that wear spacesuits, spectacular laser shows and all exits and entries shaped like space shuttle doors it is hard not to love Bangalore's most famous novelty pub. While most of us will unfortunately never get to experience what it is like to live aboard a NASA spaceship, this remarkable bar will take you on a celestial and otherworldly experience faster than you can say "open the pod bay doors, HAL".
In a perfect world, cinephiles from all around Australia would currently be converging upon Melbourne to attend the city's always jam-packed annual film festival. Going to MIFF is an experience. In its pre-pandemic form, the festival ran for 18 days every year, screened hundreds of movies, and had film buffs constantly hopping between the Forum, ACMI, Hoyts Central and whichever other venues happened to be in use at any given fest. It's an ordeal. It's glorious. It a movie-lover's dream. It's a way of life. It also now feels like a treasure from a completely different time. The Melbourne International Film Festival is still on the agenda for 2021, thankfully. It's quite a bit different to MIFFs gone by, though, and — at least according to current plans at the time of writing — to the fest's online-only version last year. Ideally, there'll still be an in-cinema experience after Melbourne's latest lockdown ends on Thursday, August 12; however, from Thursday, August 5, the fest is also playing more than 90 titles digitally (and nationally) via its new online platform MIFF Play. Accordingly, whether you're a locked-down Melbourne resident who's gearing up for the usual MIFF fun in a week's time, or you're a movie fan also in lockdown in Sydney or Brisbane, a heap of films from around the world are now available to stream. Some have done the rounds of prestigious international fests, and arrive with a reputation. Others you mightn't have heard of yet, and you definitely won't find streaming anywhere else. That's this year's MIFF, digital-style, and we've watched and reviewed ten standouts from the online program that you should pop on your must-see list. FRESHMAN YEAR A college-set rom-com about stumbling forward — literally and emotionally — Freshman Year sounds rather familiar on paper. Alex (Cooper Raiff, Madeline & Cooper) has moved to Los Angeles for school, has struggled through six months so far and is still finding it hard to fit in, especially with his constantly drunk roommate Sam (Logan Miller, Escape Room: Tournament of Champions). When he isn't eating alone, he's video-chatting with his mum (Amy Landecker, Bombshell) and younger sister (Olivia Scott Welch, Fear Street) in Dallas, and wishing he was there himself. Then, after a party at a frat house called "shit house" — which was also the movie's original title when it won the Grand Jury Prize for best narrative feature at the 2020 SXSW Film Festival — Alex connects with Maggie (Dylan Gelula, Unbreakable Kimmy Schmidt) over a night spent drinking, walking, talking, burying a dead pet turtle, spilling secrets and more. Raiff, who writes and directs as well as stars, has clearly seen Before Sunrise, Before Sunset and Before Midnight, plus Dazed and Confused. He's seen all the flicks they've inspired over the past couple of decades, too. Thankfully, the talented young filmmaker and actor crafts a romance-meets-coming-of-age film that's both laden with Gen Z specifics and steeped in universal emotions, as aided by his dreamlike visual eye and stellar performances — yes, from Raiff himself, and also from the always-excellent Gelula. LA VERÓNICA When Mariana Di Girólamo starred in the astonishing Ema, filmmaker Pablo Larraín didn't want to look away from her fierce and unflinching performance, and rarely did. With La Verónica, fellow Chilean director Leonardo Medel (Harem) goes one better — because only once throughout the entire feature does he let someone other than his star linger in the centre of his frame. Di Girólamo plays the titular character here, too, and she's an influencer married to a famous soccer star (Ariel Mateluna, Amanda). Vero spends her life putting herself in the middle of every image, including the daily snaps she poses for her by her pool with her model pals. Yes, she's that determined to always be the centre of attention. Accordingly, Medel uses one big and bold stylistic flourish to constantly remind viewers about what's important to his protagonist, what she seeks and how she goes about it — and it's just one of the movie's pitch-perfect touches. Also outstanding: Di Girólamo, of course, with her portrayal effortlessly conveying Vero's carefully manufactured facade, the at-any-cost drive always lurking underneath, and the way that a life spent courting the spotlight can both hide and augment a person's struggles and flaws. The script bubbles with smarts and insights, too, as the eponymous figure finds it hard to balance motherhood, a secret from her past, her jealousy over her husband and the need to notch up two million Instagram followers to become the face of a lipstick brand. BALLAD OF A WHITE COW During its in-cinema program, MIFF will screen There Is No Evil, the exceptional 2020 Berlinale Golden Bear winner that ponders the costs and weight of the Iranian justice system — and its penchant for the death penalty specifically. Also on the bill: A Hero, the latest movie from acclaimed Iranian director Asghar Farhadi, who is known for Oscar-winning domestic drama A Separation and other such thorny fare about the reality of life in his homeland. Helmed by filmmakers Behtash Sanaeeha and Maryam Moghaddam (The Invincible Diplomacy of Mr Naderi), and starring the latter, Ballad of a White Cow slides in seamlessly alongside the fest's other Iranian titles. It too explores the impact of executions, and also the unfair disadvantage at which the Middle Eastern nation places its female citizens. It's also moving, insightful, compelling, potent and excellent all-round. In a determined, resilient, often-silently heartbreaking performance, Moghaddam plays Mina, a Tehran resident struggling with the stigma of being a widow after her husband was killed by the state for a crime that he's now been posthumously found innocent. That's a wrong she isn't just willing to stomach, even as simple things like finding somewhere to live and caring for her young daughter keep proving all the more difficult because she's seen as a single woman. THE WITCHES OF THE ORIENT Even if the tail end of the 2020 Tokyo Olympic Games didn't coincide with the beginning of MIFF, The Witches of the Orient would be must-see viewing. The story it covers is just that engaging, fascinating and important. Back in 1964, when the Japanese capital last hosted the event, the country's women's volleyball team were one of the games' sensations. They didn't just win gold, beating the USSR to claim glory — the team of former textile factory workers managed to nab that coveted medal as part of a 258-game winning streak that lasted from 1960–1966. Fresh from serving up another sports snapshot with John McEnroe: In the Realm of Perfection, director Julien Faraut assembles the remaining living members of the squad to tell their tale. Starting with an anime sequence about enchanted women, and peppering in a large array of other animated clips that were actually inspired by the team's success (yes, volleyball anima is a thing), this is no ordinary sports documentary. With circling camerawork, Faraut turns roundtable chats over bento boxes into eye-catching clips. He weaves in archival footage with mesmerising and rhythmic flair, cuts to the heart of his interviewees' recollections while also surveying Japan today, and sets his footage and discussions to the likes of Portishead and K-Raw. One training montage is nothing short of hypnotic, and the big game itself is a masterclass in tension. COMING HOME IN THE DARK Peering across New Zealand's gorgeous landscape as far as the camera can see, Coming Home in the Dark starts with a recognisable setup. Hoaggie (Eric Thomson, The Furnace), Jill (Miriama McDowell, Waru), and their teenage sons Maika and Jordan (debutants Billy and Frankie Paratene) have hit the road from Wellington for a scenic trip — stops at quaint service stations, family photos with striking backdrops and cosy little picnics all included. It's during the latter that two men suddenly and unexpectedly cross their paths, and it's apparent immediately that the gun-toting Mandrake (Daniel Gillies, Occupation: Rainfall) and his offsider Tubs (Matthias Luafutu, Ghost in the Shell) aren't there to make friends. Adapting Owen Marshall's short story, first-time feature director James Ashcroft doesn't waste a second in jumping from an idyllic getaway to holiday horrors. He basks in NZ's vast natural splendours, then shows how isolating it can be when things go awry, too. And, he doesn't flinch at splashing bloodshed across the screen as his central family soon find their slice of happiness shattered forever. As a thriller, Coming Home in the Dark is tense, nerve-wracking and unrelenting; however, as masterfully handled by Ashcroft and his co-screenwriter Eli Kent (The Seagull), it finds an even deeper pool of terror in pondering the abuse of children in government-run facilities, the scars it leaves and, here, the retribution it inspires. An exacting genre piece and a weighty musing on trauma all in one — and a feature that's constantly shifting — this riveting film isn't easily forgotten. NINJABABY When Rakel (Kristine Kujath Thorp, Betrayed) learns that she's pregnant, it isn't exciting news. It's a shock that the aspiring artist isn't thrilled about, especially given that it'll require a drastic change to her usual drinking- and partying-heavy lifestyle. That's also how New Zealand comedy Baby Done started, but Norwegian gem Ninjababy boasts a particularly raucous sense of humour, an animated foetus — the titular infant — that talks to and slings plenty of savage comments at its mum-to-be, a guy with the unfortunate but also amusing nickname of Dick Jesus (Arthur Berning, Neste Sommer), and a look and feel that makes plain its graphic novel origins. As savvily adapted from Inga Sætre's Fallteknikk, its protagonist is fiercely her own person as well. Rakel completely refuses to fit anyone's idea of how a young expectant mother should act, or a woman in general for that matter, and steadfastly defies every expectation thrust her way at all steps along her maternal journey. Thorp turns in a raw, rich, resonant and relatable leading performance, all in a memorable movie that also earns those terms with gusto. And director Yngvild Sve Flikke (Women in Oversized Men's Shirts) doesn't so much find the right balance between crude and affecting as embrace the fact that those extremes, and everything in-between, should always be a part of any cinematic bundle that examines motherhood. SISTERS WITH TRANSISTORS As her stellar 2015 documentary Heart of a Dog demonstrated, the great Laurie Anderson should really narrate everything. Clearly, director Lisa Rovner feels the same way. Making her feature-length doco debut with Sisters with Transistors, she enlists the visual artist to talk through a history that's essential but also barely known: the history of women in electronic music. This thorough and illuminating ode to the female pioneers that have helped make the field what it is — including when it didn't even exist, and was met with derision — explores and celebrates ladies like Clara Rockmore, who was handy with a Theremin; Delia Derbyshire, who helped create the distinctive theme tune for Doctor Who; and Suzanne Ciani, the first solo female composer of a Hollywood film score. Also earning attention: Daphne Oram, Laurie Spiegel, Eliane Radigue and Pauline Oliveros, all legends in the field — and with achievements that include creating a technique to draw electronic sound, making a famed piece of musical composition software, and pushing the arena forward in leaps and bounds. Anderson's voice and an unsurprisingly magnificent soundtrack are paired with must-know details about iconic women that each deserve several movies devoted to them. Of course, we shouldn't need films like this to fill in ignored and overlooked gaps, but this a glorious and informative tribute. CELTS Every 90s kid that ever wanted or attended a Teenage Mutant Ninja Turtles-themed birthday party has an instant entry point into Serbian drama Celts. Everyone who has ever made their way to a friendly or family get-together, navigated heated conversations about the state of the world and felt a sense of malaise seething through the room is similarly well-primed for this striking film. In Belgrade in 1993, Minja (first-timer Katarina Dimic) is looking forward to celebrating turning eight by donning a homemade green costume and being showered in attention. It's an event that requires significant preparations on her unhappy mother Marijana (Dubravka Kovjanic, Underneath), doting taxi-driver father Otac (Stefan Trifunovic, The Living Man) and ever-present grandmother Saveta's (Olga Odanovic, Radio Mileva) parts, though. But the child-friendly festivities are just a backdrop for debut director Milica Tomović — because, as she charts the events of a single day in this bustling household, she explores not only the dynamics festering among the kids and the discontent infecting the adults, but also the effect that the political turmoil seeping through Yugoslavia at the time has upon everyone gathered. As a result, Celts delivers a relatable portrait of domestic chaos and a fictionalised snapshot of a particular moment in time, and in an engaging and textured fashion. WIFE OF A SPY As he's demonstrated in movies as varied as Journey to the Shore, Daguerreotype and Before We Vanish, Japanese filmmaker Kiyoshi Kurosawa makes features with patience — and with a mood that hangs around like an unforgettable memory. He jumps into both marital dramas and period-set wartime espionage antics with Wife of a Spy, and therefore into new territory for him, but his precise approach and affecting tone remains very much intact here. In fact, he won the Best Director prize at the 2020 Venice Film Festival for this sumptuously handsome and emotionally complicated effort. As this film about a wealthy silk merchant and his wife in 1940s Japan unfurls, it's easy to see why. From the painterly imagery to the potent performances — and including the layered script, as co-written with Ryūsuke Hamaguchi (Asako I and II) and Tadashi Nohara (Happy Hour) — every element is brought to the screen with meticulous care and impact in Kurosawa's hands. When Yusaku (Takahashi Issey, Romance Doll) visits Manchuria, Satoko (Aoi Yu, They Say Nothing Stays the Same) thinks it's just an ordinary business trip. But then she's visited at home in Kobe by her childhood friend Taiji (Higashide Masahiro, Before We Vanish), who tells her that her husband's jaunt abroad mightn't have been as straightforward as it sounds. A woman has turned up dead, Taiji has his suspicions, government secrets are involved and, soon, everything surrounding Satoko and Yusaku is under several shadows. DRY WINTER For Australian directors, the country's distinctive landscape is the gift that keeps on giving. A sizeable portion of our national cinematic output puts its blazing ochre hues to great use, and its sprawling outback expanses as well (see: everything from Wake in Fright and Walkabout to Mystery Road, The Rover, The Dressmaker and High Ground). Dry Winter isn't one of those movies, however. It makes the most of its rural backdrop, of course, but by roving over it with the same probing and naturalistic eye that it affords its listless characters. As first-time filmmaker Kyle Davis follows twenty-something couple Jake (debutant Andrew Phillips) and Kelly (fellow first-timer Courtney Kelly) as they go about their ordinary lives on the Eyre Peninsula, he sees the shades of browns that remain evident in every patch of dirt around them. In their routine, he spies the many shades of grey that have infused everything from the odd jobs they work to get by to their nights spent finding mundane ways to pass the time, too. An observational feature that ticks by at a leisurely pace, Dry Winter hones in on detail. It sees the repetition, the minutiae, and the sights and sounds — and lets them build an immersive story. This is a sublime portrait of not knowing what the future holds that makes its audience feel like they're there in the frame with its yearning protagonists, even across its brief 62-minute running time. The 2021 Melbourne International Film Festival runs from Thursday, August 5–Sunday, August 22 — screening online for the festival's entire duration via its streaming platform MIFF Play. Depending on the current lockdown, the festival is also aiming to play at a variety of venues around Melbourne from Thursday, August 12–Sunday, August 22. For further details, visit the MIFF website.
Over the last couple of years while getting your morning cup of joe at cafes around Sydney, you may have spotted a bag of beans emboldened with bright red text behind the counter. Originating in New Zealand, Coffee Supreme's beans and instant coffee are available in locations across the country and are used in Sydney favourites including Paramount Recreation Club and Deus Ex Machina. While you can find Supreme beans in dozens of cafes across Australia and New Zealand, the coffee brewer also has its own cafes and roasteries, with five in New Zealand, one in Brisbane, one in Melbourne, one in Tokyo and now, one in Sydney. Sydney's first Coffee Supreme opened in early 2022 in the northern beaches. Located on Mitchell Road in the industrial area of Brookvale, the venue has converted a warehouse into a bustling cafe, decorated with touches of forest green and Coffee Supreme's signature red. Alongside the cafe is a 12-kilogram Probat roaster, making coffee on-site to be delivered to cafes and homes around the city. "We don't like to favour one city over the other, but the growing coffee culture in Sydney is really exciting, so the search to grow our presence here has been on for a few months now," Coffee Supreme's Sydney and Canberra Sales and Customer Development Manager Jen Le says. "When we visited 11 Mitchell Rd, we knew it was the site for us — heaps of natural light, sufficient space for a roaster and most importantly, a strong sense of community; a key pillar at Coffee Supreme." At the heart of the venue is, of course, the coffee. The baristas are taking Coffee Supreme beans and turning them into espresso, batch brew and cold filter. Alongside the classic beans on offer, there will also be seasonal blends that pop-up as they become available. Food-wise, there's an all-day breakfast menu available until the cafe closes at 2pm. Avocado on toast, bagels and bacon and egg rolls are all here. For lunch, you can also nab an array of burgers and sandwiches. If you're looking to tuck into something heartier, turn your attention to the bolognese toastie. Images: Jessica Nash Appears in: The Best Cafes in Sydney
Who hasn't wanted to care less about all the things that really don't matter? Since long before self-help was even a book genre — since before there were books — humanity has been desperate to devote less of its attention to matters that simply aren't worth it. That's easier said than done, though, which is why there's so many texts about living your best life and forgetting pointless strife, including Mark Manson's 2016 hit The Subtle Art of Not Giving a F*ck. If giving less fucks is your ultimate goal — and it should be everyone's — then you've probably read The Subtle Art of Not Giving a F*ck. Or, you've heard at it at least. It was absolutely everywhere back when it first hit bookshelves, with people glued to it on buses, everyone's mates spouting its advice and more than 15-million copes sold. In early 2023, it's also going to be hitting screens. The tome dedicated to living more contented and grounded lives has been turned into a doco, with Manson himself featuring to lead the way. As the just-dropped sneak peek at the movie shows, he's on-hand to chat viewers through his brutally honest and raw but refreshing philosophy — and help you learn, if you haven't already, that it's wise to choose where to direct our fucks, what to give a crap about and what genuinely bloody matters. Couldn't be arsed reading the book? Clearly, this is the quicker way to soak in its contents, as shot in New Zealand during the pandemic. When NZ-based producer Matthew Metcalfe (Dawn Raid) came across the text — drawn to its bright cover, like plenty of folks have been — he was fascinated by its anti-self-help-book vibe, as well as its take on life's difficulties. Manson had been approached about adapting The Subtle Art of Not Giving a F*ck for the screen before, but Metcalfe got him interested in giving a fuck about his offer. If you're new to Manson's brand of advice, the book's chapter titles are as telling as its overall moniker, boasting names such as 'Don't Try', 'Happiness is a problem', 'You are not special', 'You are wrong about everything (But so am I)', 'The importance of saying no' and 'And then you die'. The appropriate mood comes through in the film version's trailer, with experienced commercials director Nathan Price behind the lens. No doubt timed for New Year's resolutions — especially if not giving a fuck is one of yours — the film debuts in Australia via digital and in New Zealand in cinemas on Wednesday, January 11, 2023. Check out the trailer for The Subtle Art of Not Giving a F*ck below: The Subtle Art of Not Giving a F*ck will be available to watch via digital download from Wednesday, January 11, 2023 in Australia, and in NZ cinemas on the same date — head to the film's website for further details.
Oh, Christmas, how we missed you. The cold is fading while the distant sound of Mariah Carey is rising. Wishlists and plans are being drafted. And later this month, celebrations will begin. On Saturday, November 25, the CBD will become a winter (summer) wonderland courtesy of the Martin Place Christmas Markets. Beginning in the final weekend of November, the markets will be a festive oasis of food, gifts, homewares — the list goes on. These markets will be the centre of the City of Sydney celebrations when live music soundtracks the season, performers and carollers roam the stalls, decorations deck the sandstone walls and a 24-metre Christmas tree dazzles from the end of November all the way up until Christmas Day. Choirs will be popping up at Martin Place throughout December, and on Thursday, November 30, revellers can catch Santa enjoying a sleigh ride before lighting the tree, plus a festive firework show to usher in the season. The Martin Place Christmas Markets will open from Friday, November 24 to Sunday, November 26. They'll then run every Thursday, Friday and Saturday until Sunday, December 23. For more information, visit the website. Images: City of Sydney, Chris Southwood, Jessica Nash Photography
Mark + Vinny's Spaghetti and Spritz Bar opened this April, and, as promised, it's turning out some seriously radioactive-looking pastas. These colourful creations are brought to you by restaurateur Mark Filippelli (co-owner of Melbourne's Matcha Mylkbar) and his best mate Vince Pizzinga, who are offering Sydneysiders sustainable, ethical and vegan fare, some of which looks like it came from another planet. Set in an intimate space along a quiet strip of Waterloo Street, the restaurant sits between the stalwart cafe Orto Trading Co. and the Light Rail construction. This means the block is completely dead on a Tuesday night — apart from the bustling Mark + Vinny's, that is. For its first week it was an impressive sight — every table was taken within the first hour and the space was filled with excited chatter. Although the restaurant fits barely more than ten tables inside, the servers move around seamlessly and the friendly service adds to the lively vibe. Maybe it was just the spritzes talking, but people really seemed to be indulgently enjoying themselves. With a menu of 20 spritzes on offer, it's hard not to feel the urge to try a few, though the sheer size of the menu is overwhelming and we found it best to ask the server for suggestions — round after round. Filippelli and Pizzinga both have their own namesake spritzes and, of the many we tried on the night, they did prove to be some of the best. The Vince comes with theatrically scorched, Frangelico-soaked hazelnuts, along with blood orange and wattle cola — a combination that is reminiscent of a classic Venetian spritz but taken to the next level. The Mark better resembles a tropical cocktail, made with white rum, watermelon and sparkling coconut water, then garnished with a whole lychee and served in a coconut shell to boot. The drinks do take a bit to come out, but you can hardly blame the bartender considering the number of ingredients and tiny space with which they have to operate. Despite the wait, the drinks were beautifully executed every time. The nearly-a-bar vibe almost had us fooled, but in truth it's not really a place to come just for drinks — though the outdoor patio seating begs for an aperitivo hour in warmer weather. Food-wise, we came for the main drawcard: the neon blue spirulina pasta. On the menu, it takes the form of a blue swimmer crab tagliatelle, topped with cured fish roe and crunchy breadcrumbs. We were surprised how well it worked, with the blue colouring complementing the oceanic ingredients. The pasta itself had a nice bite to it, and, apart from the neon aspect, tasted like any freshly-made pasta ought to. The modern spins are accompanied by some hearty classics, like the maccarruni calabrese, a recipe from Pizzinga's nonna that is made with beef rib ragu, which is slow-cooked the traditional Calabrian way. The long and chewy pasta is miles away from the macaroni you've had as a kid and is likely the best on the menu. In terms of the vegan carbonara, we can finally confirm that the vegan egg really does ooze like real yolk and adds the creaminess needed; the house-cured mushroom is a pretty convincing pancetta replacement, too, though the texture of the activated charcoal bucatini needs some work. The duo has smartly recruited head chef Adrian Jankuloski (Icebergs, The Dolphin Hotel). You'll find his personal touches in the entrees, like the burnt eggplant dip served with charred Italian flatbread and a whole red chilli from Jankuloski's backyard; or the zucchini flowers stuffed with smoked almond curd instead of cheese, served over a nutty red capsicum sauce. Overall, the menu is thoughtfully done and certainly sets the restaurant apart, though we have a feeling its the traditional over the unusual dishes that will keep customers coming back.
It's been 14 years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005. Thankfully, Laneway Festival has just confirmed it will be heading back to its collection of unconventional venues for another year, revealing its jam-packed 2019 lineup. Returning to Sydney next February, Laneway will raise a plastic cup to the middle of summer with one heck of a lineup. This year's eclectic program is headlined by two huge Aussie names: indie rock group Gang of Youths and acclaimed singer-songwriter Courtney Barnett. A few big artists are heading Down Under for the first time, too, including English R&B superstar Jorja Smith, neo-soul singer Rex Orange County and American rapper Denzel Curry. You'll also be able to get down to Camp Cope, Middle Kids and Mitski and sway along to Mansionair, What So Not and Skeggs. If you want to catch Jorja Smith and NYC rapper A Boogie Wit Da Hoodie, you'll have to head along to Laneway — they'll both be playing exclusively at the festival, with no sideshows. But, enough chit-chat — here's the full 2019 lineup. LANEWAY 2019 LINEUP Gang of Youths Courtney Barnett A Boogie Wit Da Hoodie (exclusive) Baker Boy Camp Cope Charlie Collins* Clairo Cosmo's Midnight Crooked Colours* Denzel Curry* DJDS G Flip Jon Hopkins Jorja Smith (exclusive) KIAN Mansionair Masego Methyl Ethel Middle Kids Mitski* Parquet Courts Ravyn Lenae Rex Orange County Ruby Fields Skeggs Smino What So Not Yellow Days *East Coast only Laneway Image: Anthony Smith.
Instead of Gen V, you could call this spinoff The Boys Jnr and it'd fit in an array of ways. The superheroes are younger, with the series' eight-episode first season focusing on students attending Godolkin University, rather than adults who've been there, done that and are weathering the brutalities of life as grown caped crusaders. The minutiae of Gen V's characters' lives is firmly teen-centric as a result, including dates and crushes, dorms and lectures, making new friends and peer pressure, and the like. Obviously, their worries largely aren't of the world-weary, years-of-existential-malaise kind, but span making friends, scoring the right classes, wanting to be popular, breaking curfew, navigating social media, body image, sex positivity, morning-after regrets, dealing with overbearing parents and plotting out the future. There's nothing smaller about the hefty, hearty, utterly gleeful splashes of gore and violence, however — the eager amounts of guts and penises, too — in the latest show inspired by Garth Ennis and Darick Robertson's comic book. Streaming from Friday, September 29, Prime Video's next dive into this satirical superhero world is The Boys but in college, the same chaos, carnage and characteristic raucousness all included. Slotting into the Vought Cinematic Universe after the OG series (which has dropped three seasons, with a fourth on the way) and the animated The Boys Presents: Diabolical, Gen V stems from the 'We Gotta Go Now' storyline, sporting youthful leads but zero tone and vibe changes. So springs an OTT coming-of-age tale that's gruesome, irreverent, subversive, funny and, yes, filled with bodily fluids. Set at the same time that The Boys' fourth season will take place when it hits — its episodes have been filmed, but no release date has been locked in yet due to Hollywood's 2023 strikes — Gen V follows the blood-bending Marie Moreau (Jaz Sinclair, Chilling Adventures of Sabrina) as she scores a university place that could change everything that she knows. Stuck under the cloud of a past tragedy until now, her scholarship to the Vought-approved God U is the ticket to her dreams, with becoming the first Black woman in The Seven her ultimate aim. Her approach going in: putting her head down, working hard and securing a path beyond the facility that's been her home for much too long. She's warned what will occur if she doesn't succeed, with more time spent institutionalised the only other option that superhero organisation Vought foresees. Before Marie arrives at God U, Gen V begins with her backstory, plus with the reason that doing her best is so important. The show's developers Craig Rosenberg, Evan Goldberg and Eric Kripke, all The Boys alumni, also establish that their adolescent angle is as essential as caped crusaders and diving back into havoc caused by the corrupt mega-corporation that is Vought. When a young woman has Marie's distinctive powers, how do they manifest? When she reaches puberty and gets her first period. In opening moments set eight years earlier, just as A-Train (Jesse T Usher, Smile) is welcomed into Vought's top-tier superhero crew, there's a body count, emotional scars that Marie will never get over, and also an ultraviolet start to the series' exploration of compound V-dosed kids who were given the drug by their mums and dads to turn them into something special, only to be forced to live with the consequences. Accordingly, college's everyday trials and tribulations were never going to be the only challenges in store once Gen V steps foot on campus, and Marie with it; more follow. Academic disappointment comes early, when hotshot Crimefighting Department head Professor Rich Brinkerhoff (Clancy Brown, Ahsoka) won't let her into her dream course, but that soon seems like a minor woe. As Marie rooms with Emma Meyer (Lizze Broadway, Based on a True Story), who can scale down her size, fitting in doesn't come easily. And when she meets the resident cool clique, including literally hot number one-ranked pupil Luke 'Golden Boy' Riordan (Patrick Schwarzenegger, The Staircase), his persuasive girlfriend Cate Dunlap (Maddie Phillips, Teenage Bounty Hunters), the magnetic Andre Anderson (Chance Perdomo, also Chilling Adventures of Sabrina) and the gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh), she swiftly discovers that everything at her new school isn't what it seems. There will be blood by the bucketload — even if Marie's powers weren't tied to it, this is a VCU entry — plus secrets, lies, class clashes and life-and-death stakes. And, in a show that also gives its characters a mystery to chase, there's also a creepy underground facility known as The Woods that Marie, Emma and their pals keep being drawn to. Gen V delivers a savvy balance of wild fun and perceptive smarts as well, in a series that plays like The Boys mixed with The Sex Lives of College Girls, Scooby Doo, Wednesday and Buffy the Vampire Slayer. Like the latter pair, it's highly cognisant that growing up is weird and hellish. It similarly knows how to use fantasy and horror — here, being a caped crusader at a sinister uni that specifically trains them, rather than the ultimate goth girl or vanquishing the undead while living on a hellmouth — to explore the many struggles that accompany facing maturity. While a few key cameos pop up from its predecessor, Gen V's is 100-percent focused on the franchise's newbies, their supe and uni experiences, and the shady happenings around them — which is a pivotal move. Indeed, that's what makes it a perfect The Boys spinoff, and never an easy facsimile, lazy wannabe or unsubtle reminder of what else exists in the broader saga. Gen V dwells in the same realm with the same atmosphere and same bite, but always dons its own personality, is committed to telling its own characters' tales and proves genuinely keen to broaden the Vought Cinematic Universe. Tearing into what's become the biggest type of on-screen stories right now is still the same mission, complete with blatant Marvel digs, yet it's done in a story that puts the ups and downs of being a teen in this situation first and foremost. It's no wonder, then, that Gen V is as entertaining as The Boys to watch. It's also no surprise that Marie and her classmates easily earn the same investment as Billy Butcher (Karl Urban, Thor: Ragnarok), Hughie (Jack Quaid, Oppenheimer), Frenchie (Tomer Capone, One on One), Kimiko (Karen Fukuhara, Bullet Train) Mother's Milk's (Laz Alonso, Wrath of Man), Starlight (Erin Moriarty, Captain Fantastic), Maeve (Dominique McElligott, The Last Tycoon) and company. Alongside confidence, strewn-around viscera and its sense of humour, casting remains one of this core franchise's talents, especially with Sinclair, Broadway, Perdomo, Thor and Luh. And any X-Men or The New Mutants comparisons? Just as The Boys knowingly smashed through its Avengers and Justice League commonalities, so does this new sharp, cynical and imaginative chip off the old block. Check out the trailer for Gen V below: Gen V streams via Prime Video from Friday, September 29.
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=COrqRKMZ2KM&feature=emb_logo EMA Before 2021 comes to an end, Pablo Larraín will have given the world Spencer, a new biopic about Princess Diana featuring Kristen Stewart as the royal figure. Also on his hit list this year: Lisey's Story, a Julianne Moore-starring TV adaptation of a Stephen King book that has been scripted for the screen by the author himself. But with the release of Ema in Australian cinemas, he's already gifting viewers something exceptional. A new project by Larraín is always cause for excitement, and this drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to become a mother rewards that enthusiasm spectacularly. In fact, it's a stunning piece of cinema, and one that stands out even among the Chilean director's already impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda and the astonishing, Natalie Portman-starring Jackie — to name just a few of his movies — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes as intently as he can. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the kinetic fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, Much Ado About Nothing) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light. Bernal, one of the director's regulars, perfects a thorny role that ties into the film's interrogation of Chile's class and cultural divides. And Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Indeed, this film's imagery isn't easily forgotten, and neither is its mood, ideas, inimitable protagonist, or stirring exploration of trauma, shock and their impact. Ema opens in Sydney and Melbourne cinemas on May 13, and in Brisbane on May 20. Read our full review. https://www.youtube.com/watch?v=sV6VNNjBkcE THOSE WHO WISH ME DEAD A smokejumper stationed to a Montana watchtower, plagued by past traumas and forced to help a teenage boy evade hired killers, Those Who Wish Me Dead's Hannah Faber actually first debuted on the page. Watching Angelina Jolie bring the whisky-swilling, no-nonsense, one of the boys-type figure to the screen, it's easy to assume otherwise. The part doesn't quite feel as if it was written specifically for the smouldering movie star, though. Rather, it seems like the kind of role that might've been penned with Liam Neeson or Denzel Washington in mind — see: this year's The Marksman for the former, and 2004's Man on Fire for the latter — then flipped, gender-wise, to gift Jolie a new star vehicle. On the one hand, let's be thankful that that's not how this character came about. Kudos to author Michael Koryta, who also co-writes the screenplay here based on his 2016 novel, for conjuring up Hannah to begin with. But on the other hand, it's never a great sign when a female protagonist plays like a grab bag of stock-standard macho hero traits, just dressed up in a shapelier guise. It has been six years since Jolie has stepped into a mere mortal's shoes — since 2015's By the Sea, which she wrote and directed — and she leaves no doubt that Hannah is flesh and blood. There's still an iciness to the firefighter, and she still has the actor's cheekbones and pout, but Maleficent, she isn't. She's bruised, internally, by a fire that got away and left a body count. After hanging out with her colleagues, parachuting out of cars and brooding in her tower, she's soon physically in harm's way as well. As Those Who Wish Me Dead's plot gets her to this juncture, it also cuts back and forth between forensic accountant Owen Casserly (Jake Weber, Midway) and his son Connor (Finn Little, Angel of Mine), plus assassins Patrick and Jack (The Great's Nicholas Hoult and Game of Thrones' Aiden Gillen). Thanks to a treasure trove of incriminating evidence against important people that no one was ever supposed to find, these two duos are on a collision course. When they do cross paths — while Owen is trying to take Connor to stay with Ethan (Jon Bernthal, The Peanut Butter Falcon), his brother-in-law, a sheriff's deputy and one of Hannah's colleagues — it also nudges the boy into the smokejumper's orbit. Read our full review. https://www.youtube.com/watch?v=nuINvoFAnng&t=3s SPIRAL: FROM THE BOOK OF SAW With Spiral: From the Book of Saw, what came first: the decision to call its protagonist Ezekiel, or the casting of Samuel L Jackson as said character's father? Either way, the film's creative team must've felt mighty pleased with themselves; getting the Pulp Fiction actor to utter the name that's been synonymous with his bible-quoting, Quentin Tarantino-penned monologue for more than a quarter-century doesn't happen by accident. What now four-time franchise director Darren Lynn Bousman (Saw II, Saw III and Saw IV) and Jigsaw screenwriters Josh Stolberg and Pete Goldfinger mightn't have realised, though, is just how clumsily this choice comes across. The Saw series has made almost a billion dollars at the worldwide box office, but now it's resorting to winking and nodding to one of its latest stars' past movies. Perhaps Bousman and company didn't notice because almost everything about Spiral feels that forced, awkward, clunky and badly thought-out. Jackson and Chris Rock might gift the long-running franchise a couple of high-profile new faces; however, this ostensible reboot is exactly as derivative as you'd expect of the ninth instalment in a 17-year-old shock- and gore-driven saga. Focusing on a wisecracking, gung-ho, about-to-be-divorced police detective known for exposing his dirty colleagues, Spiral tries to coil the series in a different direction, at least superficially — and pretends to have meaty matters on its mind. Ezekiel 'Zeke' Banks (Rock, The Witches) has been crusading for honesty, integrity, fairness and honour in law enforcement for years. Starting back when his now-retired dad Marcus (Jackson, Death to 2020) was the precinct's chief, he's been vilified by his peers for his efforts. When a killer appears to be targeting rotten cops, too, Zeke is desperate to lead the case. Initially, he just wants to avenge the death of the first victim, one of the only co-workers he called a friend, but he's soon trying to track down a murderer that seems to be following in franchise villain Jigsaw's footsteps. A lone wolf-type not by choice but necessity, Banks also happens to be saddled with a rookie partner (Max Minghella, The Handmaid's Tale) as he attempts to stop the bodies from piling up. Read our full review. https://www.youtube.com/watch?v=sBFvpz_Tlrs&feature=youtu.be THE MAN IN THE HAT Throughout his four-decade-plus career, Ciarán Hinds has appeared in everything from Excalibur and The Phantom of the Opera to There Will Be Blood and Harry Potter and the Deathly Hallows: Part 2 — and in Game of Thrones and First Man as well. But his expressive face never been put to as a great use as it is in The Man in the Hat, which tasks the Irish actor with staying silent for its duration, save for a rare word here and there. As the titular figure, he potters around France in a small Fiat 500. What might've been a leisurely journey just because (its purpose is never explained) becomes somewhat frantic when a car filled with five bald men starts following his every move. The headwear-donning protagonist witnesses them up to no good, drives off quickly and attempts to take the scenic route, but wherever he goes, his pursuers cross his path eventually. That doesn't stop either the eponymous man from whiling away the time on his travels, whether dropping into cafes, helping the people he meets along the way, seeing the sights, having a swim or flirting with a red dress-wearing, bike-riding woman (Sasha Hails, Quiz). Often, the man in the hat simply listens to his short-term companions, including a fellow lonely soul (Stephen Dillane, Mary Shelley) initially spending his time under a bridge and a biker (Maïwenn, DNA) at a makeshift campsite. Written and directed by Oscar-winning Shakespeare in Love composer Stephen Warbeck with TV travelogue veteran John-Paul Davidson (Stephen Fry in America, Brazil with Michael Palin), The Man in the Hat is undeniably slight. It's also doused in the same type of Gallic whimsy that made Amelie a delight to some and an utter chore for others. And, with its jaunty score, episodic antics, smatterings of slapstick, and gorgeous small-town and countryside backdrop, it can play like a fever dream you might have after eating too much cheese, pairing it with a few healthy glasses of wine, making European holiday plans and falling asleep watching great silent comedians from decades ago. None of the above is a bad thing, however, if you're on the film's wavelength. Indeed, surrendering to The Man in the Hat's charms — and appreciating its exacting staging and choreography — happens both quickly and easily. It wouldn't be the same feature without Hinds, though, who adds an enchanting wordless performance that owes a clear debt to Charlie Chaplin, Buster Keaton, Marcel Marceau and Jacques Tati, but is never an act of miming mimicry. https://www.youtube.com/watch?v=O-d92kJUisU CARMILLA Premiering at the Edinburgh International Film Festival back in 2019, Carmilla first reached the screen shortly after Portrait of a Lady on Fire made its maiden appearance at Cannes. It debuted more than 14 months before Ammonite, the other big lesbian period romance of the past two years. But this gothic novella adaptation will always be seen as the lesser of the three recent films. Inspired by Sheridan Le Fanu's 1872 text, Carmilla is indeed another tale of love, lust, repression and the roles that have been enforced upon women for far too long. It takes the restraint that its characters are tasked with displaying a little too firmly to heart, though. While handsomely shot with a keen eye for vivid detail, moody in tone from start to finish, and eagerly savaging society's judgement of female sexual awakening and of sapphic desire, its often feels stilted rather than filled with yearning — and frequently seems as if it's holding a little too much back. Also, although its source material is one of the first works of vampire fiction, hitting the page nearly three decades before Bram Stoker's Dracula, first-time solo writer/director Emily Harris doesn't heartily sink its teeth into that genre, either. There's absolutely nothing wrong with eschewing the supernatural, of course, but a few especially striking images aside, Carmilla's pulse rarely quickens. What this story of passion, seduction, persecution and flouting strict norms does unshakeably possess, however, is memorable and committed performances by its key female cast members — all of whom do their utmost at every turn. Hannah Rae (Fighting with My Family) plays Lara, the cooped-up, constantly lonely daughter of the distant Mr Bauer (Greg Wise, The Crown). When the film commences, she's giddy with excitement about the impending arrival of a fellow teen from a neighbouring town, who's set to join their household for a prolonged sojourn. It'll give her a much-needed reprieve from her stern governess, Miss Fontaine (Jessica Raine, Patrick Melrose), who usually dictates every aspect of her daily routine. The tutor is even determined to train her left-handed pupil to favour her other appendage, all in the name of curing her of her sins. But, when their planned visitor doesn't make the trip, mysterious newcomer Carmilla (Devrim Lingnau, Immortality) earns everyone's attention instead. A victim of a carriage accident with no memory of who she is or why she's in the area, she's like a beacon in the night to the curious and isolated Lara, even as Miss Fontaine endeavours to maintain a close watch. https://www.youtube.com/watch?v=-uiCkL26zfQ FINDING YOU When aspiring violinist Finley Sinclair (Rose Reid, The World We Make) meets acting superstar Beckett Rush (Jedidiah Goodacre, Chilling Adventures of Sabrina) by falling asleep on his shoulder during a flight from New York to Ireland, she definitely isn't just a girl standing in front of a boy asking him to love her. The college exchange student thinks the cinema world's biggest current heartthrob is arrogant, in fact, and likely wouldn't have given him another thought if they didn't end up staying at the same small-town bed and breakfast thanks to pure rom-com logic. No, Finding You doesn't try to hide its Notting Hill-esque concept. Based on the young adult novel There You'll Find Me, it's quite eager to nod in its fellow romantic comedy's direction — and towards as many of the genre's other cliches and tropes as it can find. Even its setting sticks to recent convention; however, it's never as grating and inane as the Scotland-set Then Came You, and doesn't feature a twist as ridiculous as Wild Mountain Thyme. Everything about Finley and Beckett's will-they, won't-they romance plays out as expected, though, other than one key factor. Writer/director Brian Baugh (I'm Not Ashamed) hasn't met a pointless plot development he doesn't need to work into his movie, it seems, so the path to true love here definitely doesn't run smooth. Finley heads to Ireland seeking a change of scenery and a new source of inspiration after failing a big audition, while Beckett makes the trip to shoot the latest instalment of a big blockbuster franchise he's no longer that interested in being in. As they work out their individual issues and inch closer together, the script also tasks her with becoming his acting coach, and sightseeing with him in an attempt to track down a cross sketched by her brother. She also learns a few musical tricks from the boozy town expert (Patrick Bergin, The South Westerlies), and gets caught up in a decades-long scandal surrounding an elderly and cantankerous woman (Vanessa Redgrave, Mrs Lowry and Son) she's assigned to visit for class — while Beckett battles with his manager dad (Tom Everett Scott, 13 Reasons Why) about his future, the tabloid attention and the fake love affair he's supposed to be in with his co-star (Katherine McNamara, The Stand). When Finding You lets its two leads simply spend time together, it benefits from their warm rapport. When it bundles in every complication it can think of, it veers from being blandly predictable to needlessly contrived and convoluted. For whatever misguided reason, Baugh favours the latter over the former, all served up with a soundtrack that couldn't be more stereotypical if it just repeated the word "Ireland" over and over again. 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; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; and May 6. 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, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down and The Perfect Candidate.
Oliver Show's 'Street Furniture' has been taking over the streets of Hamburg, Germany, creating utilitarian yet comfortable seating out of existing city structures. By wrapping and securing flexible drainage pipes around the downtown infrastructure, Show hopes to reclaim the city for the public. Not necessarily designed for aesthetic pleasure, Show's pieces gather their charm from their intentionally simple, low-maintenance design. “The interventionist and experimental approach to me is more important than the quest for a ‘perfect’ product,” says Show, who has earned a design award from the HFBK Leinemann Foundation for Education and the Arts for 'Street Furniture'. Each installation is ingeniously resourceful: low-cost and weather-resistant. They are all entirely user-friendly as well. Suddenly, a bridge is an armchair, and a bike rack is a sofa, each beckoning to Hamburg residents, urging them to sit down and stay a while. [via Architizer]
The Sydney Opera House is introducing an exciting addition to its myriad of renowned experiences. Joining one of Sydney's best restaurants in Bennelong, as well as the newly renovated Concert Hall, Opera Bar, House Canteen, the Utzon Room and a range of other tours, theatres and bars at the iconic harbourside venue, will be Midden by Mark Olive. Led by its namesake chef, this new restaurant will bring seasonal menus showcasing native ingredients to the space currently occupied by Portside. Midden by Mark Olive will open for lunch and dinner seven days a week, plus high tea on Wednesdays, Saturdays and Sundays from Tuesday, July 4 in the Sydney Opera House's Western Foyer. A proud Bundjalung man, Olive will pull from thousands of years of First Nations cooking to create the produce-driven Midden menu. Shell middens are areas defined by large collections of shells discarded from local residents eating crabs, oysters and other shellfish. Tubowgule, the traditional name for the area the Sydney Opera House now resides on, was once a midden of oysters pulled fresh from the neighbouring harbour. "Middens were vibrant communal spaces with food at their core," says Olive. "Opening a restaurant at the Sydney Opera House on Tubowgule, Gadigal country is a dream come true. I could not be prouder to follow in the pioneering footsteps of leading Indigenous Australians like Rhoda Roberts, Justine Saunders and Stephen Page, who have brought incredible First Nations storytelling to this place over the past 50 years." Expect to start your meal with Sydney rock oysters in a bush tomato and wattle-seed vinaigrette, and damper bread infused with native herbs and partnered with whipped eucalyptus butter. Other snacks and starters available at Midden include native thyme hummus; smoked kangaroo salad; lemon myrtle and pepperberry-cured salmon; and an Indigenous Australian platter featuring highlights from the grazing menu alongside regional cheeses, tandoori crocodile, marinated artichoke and Tasmanian mountain pepper leaf flatbread. If you're still hungry after making your way through your entrées, there are heftier mains on offer including smoked blue gum barramundi, black olive pappardelle, braised wallaby shanks served with sweet potato rosti, and seared pork belly infused with the flavours of river mint and bush honey. "The land on which the Opera House stands was a gathering place for ceremony and culture for thousands of years before the building itself was ever conceived, and I hope the menu we've created will give guests a real taste of that millennia-old history and maybe even inspire some to cook with our vibrant native ingredients at home too," Olive continued. Reservations for the new waterfront restaurant are open now. Midden by Mark Olive will open at the Sydney Opera House on Tuesday, July 4. It will be open 11.30am–2.30pm and 5–8.30pm Monday–Sunday, and will run high tea on Wednesdays, Saturdays and Sundays.
For one afternoon only, Messina's headquarters in Marrickville is transforming into a massive dance floor. The gelato maker is teaming up with events collective Maple Social for a sun-drenched day party. Leading the DJ lineup is TikTok hero Touch of Funk, who'll be joined by locals CHRS and steevie. They've all been charged with getting you moving, and keeping you that way. In between dance breaks, kick back with a burger and hand-cut fries from Marrickville's Whole Beast Butchery. Meanwhile, Messina's Erin Bar will be peddling signature cocktails. Then, of course, there's the gelato — bucketloads of it. Tuck into all the usual flavours at your leisure, but do make sure you leave room for the Maple Social-inspired special. It's a Canadian maple scoop infused with butter, dotted with chunks of waffle cone crunch and drizzled with maple caramel. Entry to the Maple Social x Gelato Messina Car Park Party is free, but you need to RSVP beforehand. Do that via Instagram @maplesocialclub or Partiful.
It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos — and so astute at conveying life's anything-that-can-go-wrong-will certainty — that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Streaming in Australia via Paramount+ from Saturday, November 11, exquisite new dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. The Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet — even after winning the Cannes Soundtrack Award for his unforgettable work on Good Time. And yes, The Curse is everything that the sum of these parts promises. It's more, in fact, then even more again. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease second by second, moment by moment and scene by scene. It's also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts. Their angle: environmentally sustainable passive homes that only use energy that they create, which Whitney and Asher consider their contribution to their adopted New Mexico hometown of Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's slimy and manipulative childhood friend with a nose for sensationalism — particularly when he gets the scent of disharmony among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. As the series dives into, parodies and interrogates unscripted television, gentrification, whitewashing, white saviour complexes, racism, appropriation, marriage, privilege, authenticity, spiritualism, inherited burdens and more, its moniker can refer to many things. A white couple sweeping into the region, trotting out altruism for fame — and, in Whitney's case, to scrub away her association with her parents (White House Plumbers's Corbin Bernsen Search Party's and Constance Shulman), who have been dubbed slumlords for treating their tenants poorly — is hardly the gift that the Siegels think. Accordingly, while their actions around Española don't just span futuristic abodes that couldn't stand out more, but also enticing new businesses to the area with free rent, supporting campaigns for land rights and celebrating local artists, it's forever plain that every move that the pair make is about getting something out of it. Fielder has long unpacked what it truly means to show reality on-screen, plus the machinations behind it — and with unsettling precision, The Curse is no different. Stress would ripple through this series as inescapably as Whitney's desperation to become TV's next big thing anyway, and Asher's onslaught of neuroses and humiliations (you'll never think about cherry tomatoes the same way again); however, The Curse's name is also literal. Being filmed for B-roll footage for the pilot at Dougie's suggestion, Asher gives primary schooler Nala (debutant Hikmah Warsame) a $100 note while she's selling soft drink in a carpark with her father Abshir (Captain Phillips Oscar-nominee Barkhad Abdi). Then, when the shot is over and his performative compassion is no longer needed, he snatches the money back. The girl's response, as accompanied by a steely gaze and the unfettered anger of a child wronged by an adult: "I curse you". As bad luck springs for the Siegels afterwards, arriving in both big and small ways, those words keep lingering. Again, Fielder ponders what is real and isn't, finding another way into his favourite topic. Whitney already oozes must-do-now urgency — served with a wide Stone smile — about anything that could stymie her quest for television domination, and Asher is a walking portrait of please-accept-me torment from the get-go; then comes the hex and the fudging of lines between what's a mess of their own making, what springs from paranoia and what may be supernatural. Aptly, when The Curse's title appears on-screen at the start of each episode, it shimmers with wavy lines looking glass-style to kick off this streaming mirror mirror, distorting and disorienting in the process. Birds sometimes fly directly into the Siegels' shiny houses, meeting their ends after not spotting what's looming right there in front of them, which also makes a fitting metaphor. Squirming and watching Fielder might go hand in hand, but the experience has rarely been better than in The Curse. Neither has Fielder. His familiar directorial instinct to let moments persist to the point of aching mortification continues here, sparking his most purposefully perturbing performance yet — because watching someone this bumbling yet authoritative, and this muddled and self-conscious in everything they do yet bolstered by their status, race and bank balance, is meant to be this incisively agonising. With the show often shot like it's spying, including through windows and doorways, Stone and Safdie are equally exceptional and difficult to look away from. The yearning to be worshipped and praised non-stop, and the fear of her carefully constructed do-gooder facade being cracked, is weaponised in Stone's portrayal. Meanwhile, Safdie plays the kind of shifty that can't be shaken devastatingly well. In a plethora of ways, The Curse ticks all the boxes that it was always going to, especially via Fielder, the Safdies and Stone's exacting involvement. Throw in the fact that A24 is behind the series, placing it on a slate alongside Beau Is Afraid, You Hurt My Feelings, smash-hit Australian horror movie Talk to Me and fellow TV series Beef from 2023 alone — each of which could pair with The Curse for different reasons — and that truth only grows. And yet, no one can pick exactly where this show is heading while watching, even when you're sure that you have and those predictions come to fruition in an exchange, plot point, theme or revelation. Consider it a funhouse hall of mirrors, then: you know that something warped will confront you wherever you look, but you can never be confident of what it'll be. Consider The Curse one of the best new TV shows of 2023, too, and the type of unique viewing that's a glittering treasure even it inspires non-stop dread and horror that threatens to swallow you whole. Check out the trailer for The Curse below: The Curse streams from Saturday, November 11 via Paramount+. Images: Beth Garrabrant and John Paul Lopez/A24/Paramount+ with SHOWTIME.
Whether it's for a staycation, quick getaway or lengthy vacation, spending a night or several away from your own house isn't just about getting cosy inside any old different four walls. There's an art to providing a memorable stay away from home, including when you're slumbering in someone else's abode. Given that Airbnb is all about folks opening up their spaces to travellers wanting to spend the evening, of course it realises this — and rewards the platform's hosts with the most. For the three years running, Airbnb's Host Awards have recognised the people making booking at their listings something special — and the memorable stays themselves. 2023's winners have just been announced, showing some love across both Australia and New Zealand. Whether you're after a romantic Sunshine Coast retreat, hanging out in a 1920s steam train carriage and or a Hamurana cabin with an outdoor bath, these applauded options have you covered. In Australia, Host of the Year went to Veronica and Colin Eastmure for their Down at The Dale farm stay at Conondale, in the Sunshine Coast hinterland. Among the often-personalised touches that earned them the coveted prize: robes and slippers, handwritten welcome notes, roasting marshmallows on the fire pit, an outdoor spot to bathe and even making a birthday cake for a guest. From the newcomers to the platform, Fremantle's Sarah Abbott won Best New Host for a light-filled loft in the city's West End district, which earned plaudits for its design focus. There's also a Best Design Stay, which went to a restored Victorian terrace called Mister Munro, as hosted by Elise Croker in Crookwell in New South Wales. Rounding out the Aussie awards: that steam carriage in Forrest in Victoria, which got host Fleur Leslie the nod for Most Unique Stay (unsurprisingly); Bec and Angus McDougall's The Cottage at Dunmore Farm, also in Victoria, for Best Nature Stay; and Skye Lanser's boho-style room in NSW's Forest Lodge, which won for Best Room Host. If you're wondering how Airbnb's Host Award winners are chosen, a heap of Airbnb data goes into picking the recipients, plus guest scores and reviews — and then a judging panel oversees the process. In Aotearoa, The Cabin in Rotorua took pride of place — aka Host of the Year — for David and Christina Chemis. Again, personalisation for guests was a hit with the judges (this time including homemade treats), as was an outside bath. Soaking in the air, scenic surroundings and being made to feel like you really are at a home away from home: that's the formula that's resonated at the 2023 awards across both countries Down Under. NZ's Best New Host went to Viv Madsen-Ries for The Loft on Flynn Host, which gives Arrowtown visitors mountain views. Also, Chanel Griffiths' off-the-grid two-person Kawakawa Hut on a Taupō farm won Best Nature Stay. If it's just a room you're after, that's where Joanna Bell's Freemans Bay villa comes in, including a daily homemade breakfast. In the Best Design Stay field, glamping with a hot tub — and four bedrooms — is at the top of the agenda in Waitomo thanks to host Emily Scott. And New Zealand's Most Unique Stay? A house bus on a 35-acre field will do it, with hosts Tara and Guillaume Wrigley Gignoux dubbing it the Raglan LoveBus. For more information about Airbnb's Host Award winners in Australia and New Zealand, had to the platform's website.
Not a whole heap of regular folk can say they love flying. The crying babies, the contortions you perform to try and get comfy, the inevitable sore neck. But, there's something that makes it all a little better: the bar cart. The flight attendant finally rolls that booze-filled trolley to your aisle and you get to pick between a tiny white wine or a tiny red wine. Ah, the life. We're all missing travel at the moment, which, apart from the obvious, we can tell by how quickly Aussies snapped up the Qantas pjs when they went on sale. And to help ease some of that yearning, Qantas is selling 1000 bar carts. Yes, its bar carts. And they come stocked full of those mini bottles of booze, too. The bar carts are from the now-retired Boeing 747 fleet, which have gone to live in the Californian desert, and come in two sizes: a full cart or half. They will set you back a pretty penny, but you do get a lot of booze. The full cart is $1474.70 — or 256,000 points, if that is something you have — and includes 80 187-millilitre bottles of white wine, 80 of red wine, two sleeves of Tim Tams, two full bottles of champagne, four amenity kits, two first-class blankets and four sets of those coveted pjs, plus some smoked almonds and savoury biscuits. The half cart is quite literally half a cart and half of the contents, but not quite half of the price ($947.70). You can also buy the mini bottles individually for $2.99 a bottle. The carts can be delivered to Sydney, Melbourne, Brisbane, Adelaide and Perth metro postcodes. Yes, you could definitely just go and buy cheap wine and pretend you're on a plane — but, would it be as fun? No. So, get your mates to chip in and plan a night of low-altitude revelry. Qantas' bar carts are on sale until Friday, October 9 or until sold out. Snag yours over here.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — 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 over the past three months, 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=1Qn70iqo-4Q MONOS The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of stunning South America-set thriller Monos. Set in a camp of teen guerrillas, Alejandro Landes' third film follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked with guarding an American hostage (The Outsider's Julianne Nicholson). Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is the definite standouts of the past year. From the eye-popping landscape cinematography and the needling tension of Mica Levi's score, to the commanding performance from the young cast, there's a reason that Monos proved a huge festival hit around the globe in 2019 — including winning Sundance's Special Jury Award — before finally releasing in Aussie cinemas. https://www.youtube.com/watch?v=nzqevBnUUZU&t=3s THE ASSISTANT After exploring the JonBenet Ramsey case not only with precision, but via a perceptive re-enactment technique that interrogated its impact — with excellent documentary Casting JonBenet the end result — trust Australian filmmaker Kitty Green to turn one of the biggest topics of the past few years into a compelling, unsettling, fiercely searing thriller. The subject: the culture of sexual harassment and sexually predatory behaviour in the entertainment industry. The context: #MeToo, obviously. Following a day in the professional life of an entry-level personal assistant, Jane (Ozark's Julia Garner), as she works for an unseen film production company head honcho, The Assistant unnerves by showing the routine, everyday nature of inappropriate workplace conduct, as well as the powerlessness of those both subjected and witness to it to stop it. As always in Green's films, every element is fine-tuned to evoke a strong and earned response — which, here, includes a grey colour palette, claustrophobic camerawork, a taut script, a commitment to authenticity and a devastatingly stellar performance by Garner. https://www.youtube.com/watch?v=tqO25i-XNEU THE PERSONAL HISTORY OF DAVID COPPERFIELD He's skewered British, American and Russian politics in The Thick of It, In the Loop, Veep and The Death of Stalin. This year, in the eerily prescient Avenue 5, he pondered what would happen if a group of people were confined on a cruise of sorts — a luxury space voyage — for an extended stretch of time. But, in period comedy mode, The Personal History of David Copperfield might just be Armando Iannucci's most delightful work yet. Indeed, playfully trifling with a Charles Dickens classic suits the writer/director. Boasting a charming performance by Dev Patel as the eponymous character, and also starring Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw and Game of Thrones' Gwendoline Christie, this is a fresh, very funny and sharp-witted rendering of the obvious literary source material. Recreating this tale of a Victorian-era young man cycling from wealth to poverty and back again, Iannucci and his frequent co-scribe Simon Blackwell take shrewd liberties with the story, while never letting issues of class, abuse, loss, corruption and the dog-eat-dog nature of capitalism slip from view. And, Iannucci's visual inventiveness — including the use of split screen and rear projection — also leaves an imprint. Read our full review. https://www.youtube.com/watch?v=eVlPl0SXFiE BAIT When a film is described as 'textured', the term typically refers to its narrative, themes and emotional impact, with nothing smooth, shallow or straightforward evident. That applies to Mark Jenkin's Bait as it hones in on feuding Cornish fisherman siblings Martin (Edward Rowe) and Steven Ward (Giles King). Indeed, examining not only family in-fighting, but culture clashes, the growing chasm between tradition and modernity, and the effect of tourism on local residents of scenic spots, this is a rich, tense, complex and mesmerising affair that muses as deeply on blood ties as it does on gentrification. Jenkin's film also boasts ample visual texture, too. It's noticeable from the feature's first moments, is intrinsically linked to its tone, and proves utterly inescapable as the sea, craggy shorelines, twisted nets and gnarled ropes all fill the screen. And, as shot on location with a 16mm Bolex camera — and on black-and-white stock that the director hand-processed — Bait's look and feel is as important to the movie as anything else within its frames. In fact, paired with a noticeable penchant for close-ups that forces the audience to stare firmly at both people and objects, this stunning British feature couldn't make a bigger or more powerful aesthetic splash. https://www.youtube.com/watch?v=9DOiI_zYQrs BELLBIRD Bruce (Cohen Holloway) has long since reached adulthood. And, for all of the garbage dump worker's life, his mother Beth (Annie Whittle) has provided a buffer between him and his stoic father Ross (Marshall Napier). When tragedy strikes, however, they're forced to not only face a future without her — including the minutiae of running their scenic Northland dairy farm — but to truly face and talk to each other in a meaningful way for the first real time. Marking the feature directorial debut of teacher-turned-filmmaker Hamish Bennett, made in the area he grew up in and following the same characters from his 2014 short film Ross & Beth, Bellbird explores a straightforward and well-traversed concept, with mourning no stranger to screens. That said, this patient, understated and gently humorous New Zealand drama is a soulful and thoughtful gem. As well as finding a wealth of depth in two men ill-equipped to confront their complicated emotions but given no choice but to try, this gorgeously shot and weightily performed feature matches Bruce and Ross' taciturn ways with an astute script that conveys more through silence than words. https://www.youtube.com/watch?v=BewCjGqefoQ LOVE SARAH Also focusing on connection and reflection sparked by grief, Love Sarah steps into another family attempting to cope with loss. In this case, the dearly departed is the titular chef — the estranged daughter of ex-circus performer Mimi (Celia Imrie), beloved mother of dancer Clarissa (Shannon Tarbet), and best friend and business partner of Isabella (Shelley Conn). When the latter decides to forge ahead with Sarah's plans to open a bakery, she realises that she can't do it without both Mimi and Clarissa's help. Also lending a hand: Sarah and Isabella's culinary school pal Matthew (Rupert Penry-Jones), who might be Clarissa's father. Directing her first feature, filmmaker Eliza Schroeder lets everything about Love Sarah play out as expected, including its soft hues, appetising cake and pastry shots, and exploration of renewed bonds and new opportunities in the face of life-altering change. The film is suitably sweet, of course, and always palatable; however it's far too happy to stick to the easiest recipe possible — with some plot strands overstressed to add extra drama, and one of the movie's more enticing and interesting narrative elements quickly introduced and then abandoned. https://www.youtube.com/watch?v=2Tzas-d8MgM THE WRETCHED For part of this year, when US cinemas were closed but some drive-ins were still open, The Wretched topped the American box office. In no other scenario would that have occurred, so consider the attention afforded Brett and Drew T Pierce's instantly familiar but always effective horror film one of the few silver linings of pandemic-inspired lockdowns. Set in a small coastal town, the siblings' slickly crafted feature follows teenager Ben (John-Paul Howard), who's visiting his divorced father Liam (Jamison Jones). As tends to happen in this type of creepfest, his arrival coincides with strange goings-on at the house next door — namely a sinister force that's wreaking havoc on his neighbours and threatening to spread its malevolence even further. Immediately recalling 80s-era spookiness (and clearly the product of writer/directors who've spent much of their lives watching scary flicks from the period), The Wretched perfects the genre's jumps and bumps with ease, as well as the filmmaking nuts and bolts. In terms of its supernatural storyline, though — and its witchy villain — it does lean heavily on cliches. https://www.youtube.com/watch?v=_K4qawhyasA&feature=emb_logo A SON A tragic accident causes a long-kept secret to come to light — and sparks a series of difficult choices for a Tunisian struggling couple — in the tense and moving A Son. Despite that description, however, this isn't just an intimate drama about messy personal lives tested by heightened circumstances, although it definitely fits that bill. As well as chronicling the fallout when Aziz (Youssef Khemiri), the 11-year-old son of Fares (Sami Bouajila) and Meriem (Najla Ben Abdallah), is hit by a stray bullet during an on-the-road ambush by an armed group, debut filmmaker Mehdi Barsaoui examines the societal underpinnings deepening the family's troubles. Aziz is in dire need of a liver transplant in the aftermath of the attack, but the quest to find a donor is complicated due to cultural, religious and political reasons, as well as a revelation that rocks Meriem and Fares' marriage. Playing parents and partners pushed to their limits, Bouajila and Abdallah are superb. And, while some of the movie hits predicable narrative beats, Barsaoui isn't afraid to veer in confronting directions, or to peer intently at the state of Tunisia today. https://www.youtube.com/watch?v=Eq2n6LJrrZY THE BOOKSELLERS Calling all bibliophiles — whether your bookshelves are bulging, you've spent far too much of your life in bookstores or you've always dreamed about turning your passion for reading into your profession. Focusing on New York's rare booksellers, as well as the ups and downs of their industry, US documentary The Booksellers touches on all of the above. It's also catnip for anyone who's never more content than when they're thumbing through a printed tome, and convincingly evokes the feeling of trawling through shelf after shelf of old, beloved volumes. Cycling through the main players in NYC's antiquarian and secondhand book scene, stepping through the history of dealing in rare texts and contemplating what the future might hold as technology threatens to change everything, this is a meticulously structured, deftly edited, and immensely fascinating ode to the printed word and the happiness it brings. Filmmaker DW Young doesn't make any surprising moves, but he doesn't need to, with his overall topic, his individual subjects and the world they inhabit proving as captivating as any must-read page-turner. https://www.youtube.com/watch?v=2VSaaTCrhlU IT MUST BE HEAVEN In It Must Be Heaven, Palestinian filmmaker Elia Suleiman both directs and plays himself. He also doesn't say a single word on-screen. Serving up a slice of observational comedy, he instead bears witness to and satirises the world around him — starting in his hometown of Nazareth, then roaming to Paris, New York and Montreal. In each place, absurdity reigns. Suleiman isn't interested in overt farce, though, but in a comically heightened, expertly choreographed exploration of the type of strangeness and silliness that lingers in ordinary lives, everyday situations and widespread attitudes. Think: run-ins with authority, examples on the increasingly engrained nature of violence, pondering global tourism and ruminating on the way that one's homeland shapes identity. The ebbs and flows of Suleiman's filmmaking career provide the scantest narrative framework, complete with a brief appearance by Gael Garcia Bernal as himself; however It Must Be Heaven favours vignettes, sight gags, soulful reflection, expressive comedy and strikingly staged moments over neat storytelling. https://www.youtube.com/watch?v=7w5Ej4SF2LE MASTER CHENG The ability of food to overcome national, cultural and racial bounds — to erase barriers, bring people together and help forge new bonds — is an overused cinematic trope. So too is the healing, happiness-inducing power of a great dish, including in fish-out-of-water and down-on-one's-luck scenarios. That doesn't stop Finnish comedy Master Cheng from giving all of the above a workout, though. Here, the titular Chinese chef (Pak Hon Chu) heads to the European country with his son Nunjo (Lucas Hsuan) in tow, plans to connect with an old colleague, but finds himself forging ties in a remote village instead. Naturally, there's a slow-simmering romantic connection with a local in the form of diner owner Sirkka (Anna-Maija Tuokko). Just as expectedly, the community warms to the newcomer's presence. What helps lift Master Cheng, however, isn't filmmaker Mika Kaurismäki's love of a clearcut (and clearly sentimental) template, but the time and attention he invests in building characters, as evidenced best in the film's fleshed-out central duo. https://www.youtube.com/watch?v=0qF-TrY0hBg&feature=youtu.be ROMANTIC ROAD Many a screenwriter has probably tried to pen a similar tale, but the story of Rupert and Jan Grey, their retirement plans and the adventure that followed could've only stemmed from truth. Invited to attend a festival in Dhaka, Bangladesh, the couple decide to drive Rupert's father's 1936 Rolls Royce across India to get there. The journey proves revelatory and life-changing in a variety of ways; however it's the detail captured by filmmaker Oliver McGarvey and his documentary Romantic Road that couldn't be more authentic. The Greys' road trip hits obstacles, both expected and not-so. That's part of the genre, whether based on fiction or fact. Here, though, McGarvey doesn't just focus on the trek and the ensuing escapades along the way, but spends much of the film unpacking his subjects' 35-year relationship — and their motivation to add this hefty drive to their lifetime's worth of affection and memories. https://www.youtube.com/watch?v=Rhwx30NPMY4 THE TAVERNA Setting a film inside a bustling restaurant — here, the White Village Greek Tavern in Melbourne's Elsternwick — almost feels like science fiction at this very moment. With The Taverna, though, it's inspiration for modest laughs, dramas and insights, with this ensemble piece charting the action in its obvious setting across one particularly chaotic night. Owner Kostas (Vangelis Mourikis) has plenty to deal with, including a car accident involving his shady son Angelo (Christian Charisiou), trying to get his his waitress Sally (Emily O'Brien-Brown) to replace his belly dancer Jamila (Rachel Kamath), and troubles with the latter, her ex-husband Arman (Peter Paltos) and his new girlfriend Rebecca (Tottie Goldsmith). Embracing multicultural Australia to an extent that isn't always seen on local screens, the result is a warm, sometimes wavering but generally engaging film from writer/director Alkinos Tsilimidos (Silent Partner, Tom White, Em 4 Jay). From 11.59pm on Wednesday, July 1, until at least Wednesday, July 29, stay-at-home orders have been reintroduced in ten Melbourne postcodes, which means their residents can only leave for one of four reasons: work or school, care or care giving, daily exercise or food and other essentials. For more information, head to the DHHS website.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). 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 over the past three months, 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=PLNXHJB5Mto BABYTEETH Usually, cancer movies aren't just terrible and generic — they're insulting. Too often focusing on pretty young things succumbing slowly to the insidious disease, they generally tug at the heartstrings with shameless abandon, treating their protagonists and their plights as a mechanism to wring weepy tears out of the audience. The Fault in Our Stars did it. Me and Earl and the Dying Girl did too, and even won awards at Sundance for its efforts. So when a film also hones in on a cancer-afflicted teenager yet refuses to trot out the same old tropes and cliches, it firmly stands out. Based on the play of the same name, Babyteeth is that movie, and it could never be mistaken for the usual illness drama. As directed by feature first-timer Shannon Murphy, this lively, vibrant, insightful and genuinely moving Australian film truly sees its main character, Milla (Little Women's Eliza Scanlen), as a person first and foremost. She's not a mere tool used to evoke easy emotion. She isn't a secondary figure primarily deployed to explain someone else's troubles, either. Rather, she's a passionate Sydney high schooler who unexpectedly falls for drug dealer Moses (Acute Misfortune's Toby Wallace) as her already-struggling parents watch on. Also starring Essie Davis and Ben Mendelsohn as Milla's mother and father, this is a raw, sensitive, astute and arresting addition to a genre that rarely (if ever) earns any of those terms. It's also visually striking and, unsurprisingly given the cast, boasts fantastic performances — and it's one of the best Aussie movies that'll hit cinemas in 2020. Read our full review. https://www.youtube.com/watch?v=wplr6eN2ajQ THE BURNT ORANGE HERESY In The Burnt Orange Heresy, Mick Jagger plays a rich, ruthless art collector who visibly enjoys toying with everyone in his orbit. This isn't the Rolling Stone's first acting role, with the superstar musician famously playing Ned Kelly in the 1970 film of the same name, and popping up in the likes of Freejack and The Man from Elysian Fields over the years — but in this Italy-set art-centric thriller, he's worth the price of admission. He's clearly having fun with his wily character and Cockney drawl, even though he's just a supporting player. As a reclusive artist who lives on the collector's sprawling Lake Como property, Donald Sutherland falls into the same category, too. Alas, thanks to a by-the-numbers narrative, the slow-burning, handsomely shot film itself can't quite match them. When Jagger's shrewd Joseph Cassidy invites art critic James Figueras (Claes Bang) to his estate, the latter isn't sure why — so he takes American tourist Berenice (Elizabeth Debicki) along for the trip. Upon their arrival, the new lovers become immersed in a plot to unearth the latest paintings by Sutherland's art legend, although that's just the tip of the subterfuge and duplicity surrounding Figueras. The second feature by Italian director Giuseppe Capotondi, The Burnt Orange Heresy doesn't lack in plot, themes or attempts to ape Patricia Highsmith's best tales, but its twists prove as routine as its insights into authenticity and forgery on multiple levels. And, while excellent when he last dallied with art in The Square, and in this year's Dracula as well, Bang is never commanding as his co-stars — including Widows' Debicki, who overcomes an underwritten role in her tender scenes with Sutherland. https://www.youtube.com/watch?v=i4MRcUzmFv8 CALM WITH HORSES Living in a sleepy rural Irish town, Douglas (Cosmo Jarvis) has tied his fortunes to the region's crime heavies, working as an enforcer for the Devers family. The former boxer largely pals around with young up-and-comer Dympna (Barry Keoghan), but when the latter is instructed to jump by his menacing uncles (Ned Dennehy and David Wilmot) — and, specifically, to rough up an old man who has committed a heinous act against one of their own — Douglas must also do what he's told. But this is a task that tests his loyalty, even with his violent history. Complicating matters are Douglas' ex Ursula (Niamh Algar) and their autistic five-year-old son Jack (Kiljan Moroney), who want to move to Cork — and away from Douglas and his brutal cronies — so that Jack can attend a better school. Best known until now for Lady Macbeth, Farming and Peaky Blinders, Jarvis is exceptional in Calm with Horses, a downbeat crime film that doubles as a tense and probing character study. This is a social realist-leaning (and sometimes blackly comic) look at life on the margins, a sharp exploration of toxic masculinity and a potent quest for redemption, too, and Jarvis' quiet, internalised but powerful performance couldn't be more pivotal. In fact, it's a career-best portrayal amongst a top-notch ensemble cast (including Dunkirk's Keoghan). Also crucial: the emotive, immersive stylistic approach favoured by filmmaker Nick Rowland, who makes his feature helming debut. As the movie charts Douglas' gradual awakening to the consequences of his chosen path, the first-time director conveys the character's inner conflict through juxtaposed colours, the noticeable jumping between closed-in interiors and wide-open landscapes, and a pulsating soundtrack by Benjamin John Power — and, yes, with tender scenes involving Douglas, Jack, Ursula and gentle equines as well. https://www.youtube.com/watch?v=4mrkt44f83k THE VIGIL If something goes bump in the night, it causes jumps or both, then it's in Blumhouse Productions' wheelhouse. A hefty list of recent films have demonstrated that fact — including the Paranormal Activity, Insidious, Sinister, Ouija and Happy Death Day franchises, as well as the relaunched Halloween series — and, in case audiences needed another reminder, now The Vigil is here to do the same. The differentiating factor here is the focus on the Orthodox Jewish faith, including one of its rituals. Fresh from stepping out of a support-group meeting for Hasidic New Yorkers who are slowly encroaching upon a more secular worldview, Yakov Ronen (Dave Davis) is enlisted to spend a night working as a 'shomer' in a crumbling Borough Park home. His task: to watch over the body of recently deceased holocaust-survivor Mr Litvak (Ronald Cohen) until dawn. From the moment that Yakov steps inside the Litvaks' townhouse at his friend Reb Shulem's (Menashe Lustig) urging — and the moment he meets the eerie Mrs Litvak (Lynn Cohen), spies her husband's corpse under a sheet and notices the unmistakably moody lighting — The Vigil is content to lurk in standard jump-scare territory. It feigns at delving deeper, including into Orthodox culture and the weight left by the atrocities of the Second World War, but this is primarily an exercise in evoking dread and suspense in the usual haunted house-focused horror movie mould. First-time feature writer/director Keith Thomas still conjures up a creepy atmosphere and crafts a number of spine-tingling, anxiety-inducing visuals. As the increasingly perturbed protagonist, Davis (Greyhound, Logan) deftly navigates all of the above, too. But, even with its tense score always going for broke, the film always feels like it is simply dressing up well-worn genre elements in different packaging. https://www.youtube.com/watch?v=G4aM_3JJ_Us HOUSE OF CARDIN He trained as a tailor before the Second World War, then worked for the Red Cross during the conflict. Afterwards, he made costumes for the 1946 big-screen version of Beauty and the Beast, became the head of Christian Dior's atelier, then launched his own fashion house in 1950. From there, he pioneered an avant-garde, boundary-breaking style that's marked by its constant evolution as much as its love for geometric designs. The man in question: Italian-born, French-raised and -based designer Pierre Cardin, the subject of P. David Ebersole and Todd Hughes' (Mansfield 66/67) energetic, affectionate and informative — albeit slickly formulaic — documentary House of Cardin. Unlike its eponymous figure or recent fellow fashion doco Halston, this film doesn't aim to push any limits or stand out — in its form or function, that is. Instead, it sticks to the oft-used template (think: talking-head interviews with other famous faces, enticing shots of eye-catching designs, archival footage aplenty and an overt score) to celebrate the now 98-year-old Cardin. The movie's straightforward approach and structure is always obvious; however it also helps push Cardin, his work and his jam-packed life story front and centre. And in a documentary that benefits from its subject's sometimes-abrupt recollections about his experiences and career, as well as ample examples of the designer's dazzling pieces — both of which sprawl in a plethora of directions — that ultimately proves a savvy and engaging choice. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9 and July 16 — and our full reviews of The Personal History of David Copperfield, Waves and The King of Staten Island. Top images: The Burnt Orange Heresy © joseharo.
In 2020, Vincent Namatjira made history. Thanks to his portrait of champion AFL footballer Adam Goodes, he became the first Indigenous Australian artist to win the Archibald Prize in the award's 99-year run. That's an exceptional achievement, but 2021 isn't looking too average for the acclaimed Western Arrernte painter — with the Museum of Contemporary Art Australia just revealing a new 15-metre-long mural by Namatjira. The MCA has long decked out the foyer of its Circular Quay entrance with eye-catching, large-scale, site-specific works, with Namatjira's new piece marking the seventh such commission. Called P.P.F. (Past-Present-Future), it shows seven Aboriginal male figures against the desert landscape of the Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) region in South Australia, which is Namatjira's home community. Taking two weeks to hand paint directly onto the wall, the hefty artwork includes a self-portrait of Namajtira among the men — plus portraits of his great-grandfather Albert Namatjira; musician Kunmanara (Jimmy) Pompey, who was also the artist's late father-in-law; and an Aboriginal stockman who symbolises the male elders from Namatjira's region. Visitors to the MCA will also spot Adam Goodes, land-rights campaigner Eddie Koiki Mabo and boxer Lionel Rose on the artwork. Explaining the piece, Namatjira said that "I'm trying to bring my neck of the woods to the city, to the big smoke, for everyone to see. I painted this for the Indigenous people of Australia... I'm proud to be Aboriginal, and to have these Aboriginal male figures in the world makes me happy for our people." P.P.F. (Past-Present-Future) marks Namatjira's largest ever artwork to-date, and sees him respond to the mural's location — which includes its history as the site where first contact was made between Aboriginal and Torres Strait Islander and British peoples. As well as viewing the work, MCA patrons can listen to an audio guide that features Namatjira talking through the figures and their significance to his life. Previous Circular Quay Foyer Wall Commission pieces have been crafted by Helen Eager (in 2012–2013), Guan Wei (in 2013–2014), Daniel Boyd (in 2014–2016), Stephen Bush (in 2016–17), Khadim Ali (in 2017–2018) and Gemma Smith (in 2018–2021). Vincent Namatjira's P.P.F. (Past-Present-Future), is on display at the Museum of Contemporary Art, 140 George Street, The Rocks. Images: Vincent Namatjira, P.P.F. (Past-Present-Future), 2021, commissioned by the Museum of Contemporary Art Australia, 2021, supported by Veolia Environmental Services, image courtesy the artist; Museum of Contemporary Art Australia, Sydney; and Iwantja Arts, South Australia © the artist. Photograph by Daniel Boud
If you've been dreaming of a frosty cold winter — a reprieve not only from a record-breaking summer, but a hotter-than-usual autumn, too — it's time to recalibrate your expectations. As it does every quarter, the Bureau of Meteorology has released its climate outlook for the June to August period, and the forecast favours two words that Australians are all too used to: warm and dry. Just like last season, if you call mainland Australia home, there's a very good chance that you'll experience winter temperatures that are a whole lot warmer than the median. Apart from the far north of Queensland, as well as isolated spots in Western Australia and the Northern Territory, the whole country is tipped to endure maximums at least 60 percent higher than normal. For the east and west coasts, that figure goes up to 80 percent. Nights are also likely to be toastier than average, especially for WA, the northern NT, parts of Queensland, eastern New South Wales, and most of Victoria and Tasmania. If you're wondering exactly what's in store, then it's worth keeping the usual daily temps across the period in mind — and remembering that they'll be exceeded. In Sydney, that means the mercury will soar above a 17-degree maximum in June, a 16.4 top in July and a 17.9 max in August, while Melbourne can expect temps above 15.4, 15.7 and 16.3 in the same months. In Brisbane, the standard tops range between 22–23.3, and in Perth it spans 18.4–19.4. Once again, farmers are in for not-so-great news. The three months are set to be drier than average for much of Queensland, NSW, Victoria, southeast South Australia, northern Tasmania, the NT, and northern and far southwest WA — and, for everywhere else, the chances of either being wetter or drier are roughly equal. If you're wondering what's behind this forecast, El Niño–like warmth has been having an impact in the central tropical Pacific Ocean, and a drying effect on Australia as a result. That's actually expected to reduce slightly over winter, but the Indian Ocean Dipole (IOD), or Indian Niño, will spark its own dryness. Combined with higher atmospheric pressures, it all makes for a lack of rain and a spike in warmth. It's becoming a familiar story. Let's not forget that in 2018, overall, Australia copped its third-warmest year ever. If this year's winter is set to favour hotter than usual temps, and less rain than usual as well, things aren't shaping up well for spring and summer.
When Matt Murdock (Charlie Cox, Kin) and Wilson Fisk (Vincent D'Onofrio, Dumb Money) first sit face to face in the debut episode of Daredevil: Born Again's initial season, they do something that neither has ever been fond of with the other: agree. Daredevil and Kingpin are no more, they both confirm, under threats going both ways should that statement ever stop proving accurate on either's part. Murdock has his legal career to focus on. Fisk is running for mayor of New York City. Murdock will hold Fisk to account, though, if he's anything but above board in his new role running the Big Apple — and Fisk, campaigning with a strong anti-vigilante message, will respond if Murdock slips into Daredevil's red costume again. Murdock and Fisk are back. With the characters dating back more than half a century, so is one of the comic-book realm's greatest rivalries. It's been a decade since the first streaming series to follow their battle on the small screen premiered and also seven years since it wrapped up, with Netflix's Daredevil spanning three seasons from 2015–2018. While that show wasn't part of the Marvel Cinematic Universe, its successor definitely is. Joining Disney+'s small-screen catalogue after WandaVision, The Falcon and the Winter Soldier, two seasons of Loki, Hawkeye, Moon Knight, Ms Marvel, She-Hulk: Attorney at Law, Secret Invasion, Echo and Agatha All Along, Daredevil: Born Again is a new beginning for its namesake and his nemesis, then, but it also honours its television past. Grey areas not only come with the territory in this fierce feud — they aptly apply to its latest TV date. Consider this a fresh start, yes, as well as a sequel. The MCU has been working towards bringing Daredevil and Kingpin's friction into the fold for a few years now, officially announcing Daredevil: Born Again in 2022 much to the delight of fans, then beginning to put that plan into action elsewhere across the franchise. So, viewers have already seen Murdock in Spider-Man: No Way Home and She-Hulk: Attorney at Law, Fisk in Hawkeye, and both in Echo. As those appearances have been popping up and piling up, giving the pair their own series again has journeyed along a winding path due to a creative overhaul partway through. Consider Daredevil: Born Again a show with history, too, in multiple ways in front of and behind the camera. Boasting a connection with Marvel's small-screen tales at Netflix courtesy of The Punisher (which sat alongside not just Daredevil, but Jessica Jones, Luke Cage, Iron Fist and The Defenders), screenwriter and TV producer Dario Scardapane joined Daredevil: Born Again during that shake-up, taking over the reins as showrunner. One of his key tasks: finding the right balance between continuing the story of the Netflix show and taking this new chapter for Murdock and Fisk in its own direction. He was certain that moving forward couldn't mean never looking backwards. He also felt strongly that two more beloved characters needed to be a part of the series. Karen Page (Deborah Ann Woll, Queen of the Ring) and Franklin 'Foggy' Nelson (Elden Henson, Killers of the Flower Moon) weren't originally featured in Daredevil: Born Again — and if that seems unthinkable, that was also the case for the Trauma, The Bridge and Jack Ryan alum now calling the shots. [caption id="attachment_994610" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Scardapane said he wouldn't take the gig without Karen and Foggy, in fact. "I'm a true Italian in form. I have a tendency to make bold statements that may or may not be 100-percent accurate," he tells Concrete Playground. "The thing is, when I went in and talked to them, those two characters had been missing from the original, the first iteration. And unfortunately, in having them referenced but not seeing them, there was something missing in terms of that bridge between seasons. And then I also think that one of the most-interesting characters in the Marvel world, that has not been given as much room to just rock, is Karen Page. I just think that's a fantastic character. I'm super interested in the relationship she has with Matt Murdock. I'm interested in that family of three that you see, and when there's a loss in the family, what happens. So it was, yeah, it was a little extreme to say 'I'm not going to take it unless I get to do this', but it seemed that it was absolutely integral to telling the tale and bringing us into this new version." "And we wanted to do it," notes Sana Amanat, one of Daredevil: Born Again's executive producer — and not only an MCU veteran thanks to Ms Marvel, but a comic-book editor who co-created Kamala Khan on the page. "I think we realised it as we were watching the material. We're like 'this feels like there's something missing'. The heart of the show was missing, and we were all just very simpatico," she advises. "Dario has this phrase, he says 'yes, and' a lot, which I love — because it makes for such a rich collaboration. We wanted the same thing for this project — very much so," Amanat continues. Adds Scardapane: "and it was funny, I think I wasn't there, but I think probably in that, when you had the opportunity to kind of stop, slow down and take a look, it must have felt like 'oh, somebody's missing'. Like there's an X-factor there." As Daredevil: Born Again's nine-episode first season keeps establishing, Daredevil's past ties couldn't remain more crucial to the series, even in a narrative that sees Murdock confront a new future — and, in what proves an engrossing character study not just of its eponymous figure but of his main adversary, in a show that faces the similarities between Daredevil and Kingpin, and how those commonalities drive their obsessions with each other regardless of whether either will admit it. We also chatted with Scardapane and Amanat about that dynamic, as well as how crucial Cox and D'Onofrio are individually and together, knowing what to build upon from Netflix's Daredevil, how working on The Punisher and Ms Marvel helped them prepare for Daredevil: Born Again, and more. On Finding the Right Balance Between Continuing the Story of the Netflix Show and Shaking Things Up Sana: "I think it was quite important, first of all, for us to pay respect to the material that was there before. We really believed in it and we really loved it. The challenge for us was making sure that it was familiar, yet it was charting a new course. We didn't want people to feel like they needed to watch everything — they needed to be able to step in at the first episode and know everything that you needed to know. And I have to say, really a lot of credit to obviously Dario and our writing team, and Justin and Aaron [directors Justin Benson and Aaron Moorhead, who also worked on Moon Knight and Loki], who told us everything you needed to know in those first 15 to 20 minutes. I think also visually, stylistically, again there is a lot of references pulled from the old show, but we tried to do something new and fresh also to make sure that New York felt real, and that there was also stylistic pops that took into account his sensory experience — Matt Murdock as someone who is blind with heightened senses. So that combination, I think, really made it feel like a Daredevil that was in its new course and new chapter, and hopefully it feels exciting and thrilling and bold for folks coming in. We hope that you guys really see the love that we put into it." Dario: "And then when I came in and saw what they had, it was like 'this stuff is really, really, really cool'." Sana: "Yeah." Dario: "But it needs a bridge. It needs something that takes you from the past, from the end of the Netflix show, into what we're doing now. And that was really a large portion of the job, in terms of giving audiences, — and fans like myself of the old show — a touchstone, and then taking them somewhere new." On How Crucial Charlie Cox and Vincent D'Onofrio Are — Not Just as Daredevil and Kingpin Individually, But in Bringing That Rivalry to the Screen Together Sana: "They're so absolutely pivotal. I feel like they are these mythological figures. They are larger than life. When you see them step on set as Daredevil and as Kingpin, you see the presence that Charlie and Vincent have and what they bring to these roles. So there's no other question for me — I mean, those are those characters. And that diner scene in itself, at the opening of 101, said everything that you needed to know about the entire series, about their prowess as actors — and through Dario's incredible writing, and Justin and Aaron's great, great directing. It's just an amazing combination." Dario: "And you were right when you say that the two of them together are more than the sum of their parts." Sana: "Yeah." Dario: "And that's what's so fun about working with and writing for two characters that have such a rich history. There's the history that the characters in the comic book have. Then there's the history that that Charlie and Vincent have, having done this now for about ten years. So when you get in a room to do a scene or write a scene for them, you have the weight and the joy of all that history, and these two actors who know it so well." Sana: "Yeah, it feels like the years of storytelling is building to an intense character drama about these two characters — and honestly, how similar they are. They might be different, but they're pretty similar, too." On Daredevil: Born Again Being a Character Study That Highlights the Commonalities Between Daredevil and Kingpin — and Why That Makes Them So Obsessed with Each Other Dario: "They're both carrying duality. That's what's funny. You have a character or person that is Matt Murdock and Daredevil. You have a person that is Kingpin and Fisk. And those are constantly interacting and constantly bouncing into each other, and bringing out the worst in each other at times. And this whole saga, for lack of a better word, this is what it's all about: this dance, this fight between Kingpin and Daredevil. What are the ripple effects it has into the world? What are what these two people's obsessive need to bang heads? What does it mean for everybody and everything in a city around them?" Sana and Dario, in unison: "It's hard to come to terms with your violent nature." Sana: "Truly, they both have a very complicated and similar relationship to violence, and that is something that is really intriguing to show." On Deciding Which Elements to Continue From the Netflix Series — and Where to Stand Apart Dario: "It's really funny — that's a great question, and there's kind of a litmus test for all of it. There's so many people. We're all bringing everything we can to being custodians of this character. When something's right, you literally feel it. And when something's off, you feel it. So in the same way, if I write something for Vincent that just doesn't feel right, he's like: 'hold on, try this'. And when we build a storyline that just doesn't feel on-story — we discarded a few for season two that just didn't feel like what we wanted to do. And the thing is, is that we've taken almost everything that was started over the course of those three seasons, because there's so much in those three seasons, and we've just put it into a context of seven, eight years later and a bigger conflict because Fisk is now, he's the system." Sana: "There's also just us as fans being like 'oh my god, we love this from the old show." Dario: "Gotta do it. Gotta do it." Sana: "We've got to do it. So that's our litmus test. Like Bullseye — you know, we love Bullseye." Dario: "You were like, very early on 'so, we've got to do a oner'. I was like 'yes, we do'. There was no, especially with the two of us, there's very little like 'oh, no, that's not the show'." Sana: "100 percent. We're usually on the same page, which is awesome." Dario: "Yeah." On What Scardapane Learned From Making The Punisher and Amanat From Ms Marvel That Helped with Daredevil: Born Again Dario: "Now wouldn't that be a team-up." Sana: "Oh my god, that'd be awesome. It's like The Last of Us — but yeah." Dario: "You go first." [caption id="attachment_994625" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Sana: "What did I draw on for this? I mean, ultimately the biggest thing for me — obviously the joy of filmmaking and creating and storytelling is just unmatched, and for me, I've been lucky enough to do it at Marvel for so long. It is about the people that you work with, making sure that they feel heard, that they feel like they're bringing their best — and that we're all creating the same thing together, we're all collectively building just this beautiful tapestry of a very hopefully powerful story. And to me that's the same in any genre that you work on. And if you're lucky enough to work with such great collaborators who can help you bring this vision to life, my job really is to help draw the best out of everyone we're working with to be able to tell the best story that we possibly can. And that is the delight, the delight of my job." [caption id="attachment_994626" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Dario: "The takeaway from The Punisher for me, really — and I will say I had two, for lack of a better word, two great teachers on that job in Jon Bernthal and Steve Lightfoot — was you're writing something that is incredibly dark, incredibly gritty and incredibly violent, but you're always trying to find the humanity inside it. And you're always — when you watch some of Steve's writing, and when you watch some of Jon, what he does with the character — you're always trying to find the heart. And I definitely brought that as best I can to Daredevil. In and amongst all the punching and broken bones and mayhem, you want to find the heart and soul of these characters. You want to really feel." Daredevil: Born Again streams via Disney+. Daredevil: Born Again stills: Giovanni Rufino, courtesy of Marvel Television. © 2024 MARVEL.
UPDATE, December 17, 2022: Glass Onion: A Knives Out Mystery screened in cinemas from Wednesday, November 23–Tuesday, November 29, then streams via Netflix from Friday, December 23. Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites, in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to; however, he also knows when to let everything spill out. Claire, Birdie, Lionel and Duke share something else: they're all considered "disruptors" by tech mogul Miles Bron (Edward Norton, The French Dispatch), form part of his inner circle and get together annually for one-percenter vacations on his dime. He's behind their unexpected packages and their latest lavish getaway, which takes them not only to a picturesque private island, but also to a sprawling mansion decked out with a glimmering dome he actually calls a glass onion. Also in attendance is Miles' former business partner Andi Brand (Janelle Monáe, Antebellum), with whom nothing ended well, which gives the trip a skin of tension. And, there's the cravat-wearing Blanc, who couldn't be a better addition to the guest list — Miles has corralled this distinctive cohort for a weekend-long whodunnit party, after all. Blanc doesn't quote Sherlock Holmes and proclaim "the game is afoot" in Glass Onion, as he did the first time around, but it is. Several are. Miles wants his visitors to solve his own faux murder, but soon there's a real death slicing into what's meant to be a fun jaunt. Everyone is a suspect, because that's how this setup works. The Southern-drawled Blanc's presence proves mighty handy, swiftly segueing into "world's greatest detective" mode. No one needs him to glean the murder-mystery fundamentals, though. As told with an initially more linear narrative, little is what it seems on this swanky, intricately crafted vacation, including among the mostly high-achieving but secretly spatting group. And yes, as the bickering and backstabbing gets bloody — and the fast-paced story keeps unfurling — everyone has a motive. The Knives Out films can be enjoyed as pure on-screen rounds of Cluedo of the most entertaining kind, and as self-aware, affectionate and intelligent detective puzzles in the Agatha Christie mould. With their sharpness, mischievousness and effervescence, they easily show up the author's most recent page-to-screen adaptations, aka the clunky latest Murder on the Orient Express and Death on the Nile. Johnson also has the keenest of eyes for ensuring that every inch of every frame and every detail in every set entices and teases, with impressive help from his now six-time cinematographer Steve Yedlin, The Lord of the Rings: The Rings of Power production designer Rick Heinrichs and returning costumer Jenny Eagan. His whodunnit flicks get viewers gleefully playing along, lapping up surprises and thrills. And yet at the same time, they have audiences happily sitting back for the ride as both Johnson and the never-more-delightful Craig do their best. Everyone's doing stellar work in Glass Onion, especially the killer cast. This is the latest of many, many starry crews with a murderer in their midst —see also: fellow 2022 releases Bodies Bodies Bodies and See How They Run — and it's superbly compiled, including Jessica Henwick (The Gray Man) as Birdie's exasperated assistant, Madelyn Cline (Outer Banks) as Duke's girlfriend and a heap of genre-adoring cameos. As a sweep-you-long feature, the film serves up the sheer pleasure of watching its actors play their parts with such aplomb, and also benefits from fleshing out its characters before there's a body count. There needs to be such meat on this movie's bones, and more than merely one-note pawns on its board, because getting biting and blistering — and also being timely and topical — is another of the series' ongoing highlights. A more-cash-than-sense billionaire making a mess? The entitled, privileged set doing anything for money, and to uphold their status and lifestyles? Yes, the Knives Out franchise is eating the rich again, this time on a The White Lotus-esque holiday. Accusations zip around Glass Onion with frequency, potency and a sting, but no one can accuse Johnson of just repeating himself. As an early reference to Bach's 'Fugue in G minor' nods at, this is an onion of a flick that stacks its layers atop each other to create something new, and shines in a different way with each one. Also, where plenty of sequels to successful pictures rinse and repeat, this instead builds a fresh game out of similar but never identical pieces. A case in point: the decision to set the movie in May 2020, when the pandemic is all that most people were thinking about, and lockdown life was far, far removed from international travel, pool dips and cocktails with a view. That choice brings more sight gags, like Birdie's pointless mesh mask, but more importantly it lets the film dice up its targets with more force. They're squabbling and slaying in luxury while everyone else was staring at their own four walls for months on end, and doesn't this new gem cut them up for it.
If your state was just weeks away from legalising marijuana for recreational use, what plans would you be hatching? Well, one Californian winery has gone and created the world's first commercially available marijuana-infused sauvignon blanc. The winemakers at Rebel Coast Winery — who produce Californian blends and Sonoma chardonnay — have invented a wine that's infused with THC, the psychoactive element of cannabis. It's all ready to start shipping within California on January 1, 2018, which is when recreational marijuana becomes legal across the state. Infusing wine with cannabis is no new thing, but this is the first time is will be sold by official means. There is a difference though: THC and alcohol can't legally be mixed, so the winemakers have switched out the wine's booze content for 16 milligrams of THC per bottle. Apparently it "smells like weed, tastes like wine" and won't haunt you with a hangover the next day. And the high? As Rebel Coast explains on its website, "after one glass you won't be thinking your couch is a hippo with short legs or anything. Our goal is not to kill you after you've had a few glasses. The goal is to get giggly and naked with someone." Obviously recreational use of cannabis is not legal in Australia or New Zealand, so this sav blanc isn't either. However, both countries have recently legalised the consumption and sale of low-THC hemp food products.
When you're whipping up a batch of cookies, do you spoon your creations onto the tray and pop them straight into the oven, or do you sneak a taste of the delicious, uncooked dough? We all know that we should say the former — and we all really do the latter. Eating the mushy morsels we'll call pre-bikkies is frowned upon thanks to that little thing called food safety; however New York's newest cafe has the solution. Dō makes their cookie dough from pasteurised eggs and heat-treated flour that ensures those gorging on their products won't get ill. After selling their wares online, they've branched out into the bricks-and-mortar space, setting up shop in Greenwich Village. https://www.instagram.com/p/BPfiYFHF0m4/?taken-by=cookiedonyc There, you'll find scoops of dough, served with or without ice cream, plus sundaes, ice cream sandwiches and cookie dough milkshakes. Pick from flavours such as sugar cookie, brownie batter, salty and sweet, cake batter and peanut butter snickerdoodle — from a range of five classic, eight signature and three seasonal varieties — then indulge in guilt-free gooeyness. Baked snacks such as actual cookies, cookie sandwiches, and cookie cakes are also available, but where's the fun in that? Or, try cookie dough fudge, cookie dough ice cream pie, cookie dough brownies or a cookie bomb — which looks like a cupcake, but is actually dough and frosting. Yum. Via Food and Wine.
Sydney's clubbing scene farewelled a bona fide giant in March when ARQ, the longstanding LGBTQIA+ nightclub that anchored the Oxford Street nightlife landscape, closed its doors for the final time. For 26 years, the Darlinghurst darling was at the forefront of Sydney's queer nightlife scene, with DJs and performers from around the world taking to the stage over its lifetime, including a still-talked-about surprise gig by Lady Gaga in 2011. But this June, the Flinders Street spot will be reborn as AURA, an inclusive, multi-genre, multi-room nightlife destination that promises a stacked lineup of local and international DJs, immersive productions and themed events several nights a week. It's being brought to life by a team of Sydney nightlife heavyweights, including Dave Auld (SEADECK Sydney), brothers Ricardo and Umberto Monfardini (Movement), Bryan Ro (Puzzles Records) and Justin Muscat (ALLFRIENDS), who are promising to "honour the past, celebrate the present and set a new standard for Sydney nightlife". Regular visitors might notice some significant cosmetic changes in the new space. AURA will feature new-look decor, upgraded lighting systems and more seating than ARQ, to encourage comfort and connection. One key element that the new owners are keen to maintain, though, is ARQ's management team, to provide a sense of continuity for both patrons and promoters alike. "We're not here to wipe the slate clean," says Auld. "We're here to build on a foundation of loyalty, passion, and culture, evolving it for a new generation, while honouring the community that made this place iconic." [caption id="attachment_681185" align="alignnone" width="1920"] Katje Ford[/caption] A huge part of what made ARQ "iconic" was, of course, the music, and AURA will be coming in hot with a huge weekly, multi-night program of performers and events. It kicks off with the colourful Carnivàle Thursdays, where you can expect Latin-inspired music and performances. Friday nights will be reserved for a rotating mix of events by a range of promoters, while Saturdays will see the venue make full use of its two floors, with upstairs pumping out melodic, afro and commercial house, while the notorious basement will host DJs playing deep house and minimal tech, backed by a new state-of-the-art lighting rig. And if you're looking for somewhere to take a time out, you don't need to default to the smokers' — AURA will also boast a secluded sensory retreat space, inspired by legendary Ibiza lounge Café del Mar. "ARQ has always been an impressive venue, it's a purpose-built nightclub that's lasted the test of time," says Auld. "Twenty-six years is an incredible run and we acknowledge that legacy with great respect. But like most things, it's time for evolution. AURA is our next chapter, one that celebrates the heritage while pushing the boundaries of what a modern nightclub can be." View this post on Instagram A post shared by Aura Nightclub (@aura.club.sydney) AURA is slated to open in June 2025 at 16 Flinders Street, Darlinghurst. For more information, head to the venue's website. Top image: Katje Ford.
If there's one thing the entertainment industry loves at the moment, it's turning movies into something else. Musicals and television shows, to be exact. Following in the footsteps of La La Land, Amelie and a wealth of others, The Devil Wears Prada is the latest film making the leap to another medium. Yes, the fashion-focused workplace drama is headed to the the stage in musical form. Showing just how terrifying your boss has to be to make you not just scream, but sing, the film-to-theatre adaptation will take its cues from the 2003 novel the movie was based on, as well as the 2006 flick starring Meryl Streep and Anne Hathaway. And, it'll come with songs from a famous source, with Elton John signing on to compose the production's music. If this sounds partly familiar, that's because taking The Devil Wears Prada to the stage has been mooted since 2015, but without any specific details. John will join forces with playwright and screenwriter Paul Rudnick (Sister Act, Addams Family Values) to bring the tale of aspiring journalist Andy Sachs, her haughty, haute couture magazine editor Miranda Priestley to singing-and-dancing life. No word yet on casting, or when the musical will become the kind of hot ticket that a million girls would kill for. Via Deadline.
Consider yourself a sushi fanatic? Gyuniku is willing to put that to the test with an unlimited sushi and sashimi buffet. But rather than needing to keep count of the plates you've put away like a traditional sushi train experience, this lunchtime event comes with a convenient set price so you know precisely what to expect. Available for lunch from 12–3.30pm, this feast is intended for the whole family, with adult diners paying $48.90 for unlimited trays of sashimi, nigiri and nori rolls. Yet the options extend much further, with delicious salads, dumplings, noodles and desserts on the menu alongside DIY chirashi bowls – or scattered sushi. Designed to deliver maximum value for money, not to mention flavour, at a time when sushi prices are going up and up, stuffing yourself with this Japanese feast is easygoing on your wallet. Kids are welcome to indulge in the banquet too, with children aged 4-10 dining for $27.90 and toddlers aged 1–3 priced at just $9.90.
