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There exist a number of litmus tests in the field of criticism and theory; a roll call of films and filmmakers who, divisive by nature, like lines in the sand, demand that one take stock and take sides. For the
The days are getting shorter, the nights colder, and the air has that refreshing crispness about it that accompanies the onset of winter. Melbourne’s punters, for the first time in months, are rugging up to go out to the theatre.
I didn’t have any trouble getting a booking at Tempura Hajime, though I very nearly could have done. The morning after we made our booking, John Lethlean’s review appeared in The Age and, with all the force of a small
In its more compelling moments, Theatre @ Risk’s Checklist for an Armed Robber is a play of composite images. Based on two newspaper stories from a couple of years back, the events of which unfolded over the same weekend on
The Moroccan Soup Bar isn’t really a bar, and I’ve never seen anyone eating soup there. Nevertheless, with its verbal menu and widely lauded chickpea bake, it remains one of my girlfriend’s favourite places to eat and a sentimental favourite
I was characteristically torn. On the one hand, there was the principle of the thing: I had been a fan of Paul Mathis’ SOS—its food, its wine list, its eco-friendly intentions—since it opened in mid-2006, and had been disappointed to
A middle-aged woman, cigarette dangling casually from her mouth, enters from a door at the back of the “space”. She whispers something to her doting props man – something about the bags she has to carry – and takes a
And so now, after the longest of waits, French film scholar and militant cinephile Nicole Brenez has finally had a book translated into English. For those of us who don’t read French, this is exciting news: Brenez’s rigorous engagement with