Gabun Gulin 'One Mob' Launching into Spring for Darebin FUSE Festival
Darebin FUSE Festival runs 31 August – 14 September 2025.
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ABC News
2 hours ago
- ABC News
Picnic at Hanging Rock is just as unsettling and relevant 50 years on
Peter Weir's Picnic at Hanging Rock, released 50 years ago, is remembered for its eerie atmosphere and mysterious story. But beneath its haunting beauty, the film challenges the idea of colonial control over the Australian landscape. The rock becomes a place that refuses to be explained or conquered by European logic. This tension between the land and colonial power still matters today. The failure of the referendum on the Indigenous Voice to Parliament shows how divided Australia remains over questions of reconciliation and Indigenous sovereignty. Rewatching Picnic at Hanging Rock in 2025, we can appreciate the film as an unsettling portrayal of place, silence and disappearance. Picnic at Hanging Rock tells the story of a group of private schoolgirls and their teachers who visit the nearby Hanging Rock on Valentine's Day in 1900. During the excursion, three students and one teacher mysteriously disappear. No clear explanation is ever given, which unsettles both the characters and the audience. The mystery triggers hysteria, scandal and a slow collapse of order at Appleyard College. As the search for answers continues, the film refuses to provide resolution, deepening its sense of unease and ambiguity. Based on Joan Lindsay's 1967 novel, the story captured the public imagination with its haunting beauty and unanswered mystery. Audiences were obsessed with whether it was based on true events (it wasn't). The film became a landmark of the Australian New Wave, a 1970s movement that revitalised the national film industry with bold, artistic storytelling and a focus on uniquely Australian themes. With its poetic visuals, haunting score and colonial setting, the film stood out for its mood rather than action. Audiences were both fascinated and frustrated by its lack of closure, and it gained a cult following, especially among viewers drawn to its gothic atmosphere and slow-burning mystery. Ngannelong, also known as Hanging Rock, is a striking volcanic formation north-west of Melbourne. For the Dja Dja Wurrung, Woi Wurrung and Taungurung peoples of the Kulin Nation it is a deeply important cultural and spiritual place. Lindsay and Weir's mystery of white schoolgirls who mysteriously vanish sits on top of older, deeper traumas – those of dispossession and the forced removal of Indigenous people from their lands. While the film appears dreamlike and mystical, Ngannelong's sacredness challenges this romantic view, reminding us that the land holds its own stories and history. It does not forget. Picnic at Hanging Rock can be seen as a powerful story about colonial fear and uncertainty. The unexplained disappearance of the schoolgirls plays off the idea that European thinking and logic can't fully understand or master the Australian landscape. When watched through this lens the story reveals just how fragile colonialism is. The film invites viewers to think differently about Australia's identity, suggesting the landscape itself remembers the past and actively resists the stories colonisers have tried to tell about it. The film contrasts the tidy world of Appleyard College – which stands for colonial order, built on white privilege and Britishness – against the untamed mysterious landscape of Ngannelong. The girls represent white femininity, meant to bring culture and control. When they vanish, it's as if the land rejects these colonial ideals. Their disappearance unravels the school's order, exposing how fragile colonial power really is. It hints at a deeper crisis beneath the surface. Russell Boyd's cinematography is key to the film's unsettling mood. Shifting light and strange angles create a sense of uncertainty. The bush isn't just background, it is defiant. This fits with 'ecological cinema', where nature has its own voice. In Picnic at Hanging Rock, the land often overpowers people. It refuses to be controlled or explained by colonial ideas. Picnic at Hanging Rock is part of the Australian Gothic: literature and films which explore dark parts of Australia's story. Named for European Gothic literature of the 18th and 19th centuries, these 20th century Australian stories often express the anxieties, violence and uncanny dislocations of colonisation and the natural landscape these settlers encountered. In this Australian Gothic tradition, Picnic at Hanging Rock uses haunting and mystery to explore deep social and historical wounds. These unsettled feelings still shape how Australia sees itself. Australia's national identity rests on silences and erasures. Like the missing schoolgirls, the colonial subject is lost – unsure of who belongs and whose history matters. Picnic at Hanging Rock remains powerful today, especially in light of ongoing discussions about Indigenous sovereignty and reconciliation in Australia. The film's mystery is never solved, forcing viewers to sit with the discomfort of what's left unsaid. The land is not something empty or passive, but alive. It is a force that remembers and resists. Even 50 years later, the film still unsettles, not just through its eerie beauty, but by challenging colonial ways of thinking and reminding us that sovereignty endures – even if it's not always visible. This piece first appeared on The Conversation. Jo Coghlan is an associate professor of humanities, arts and social sciences at the University of New England.
News.com.au
5 hours ago
- News.com.au
Hotel Woolstore 1988 Sydney: Stunning hotel with mind-blowing tapas restaurant
As one of the most popular cities in Australia to visit, Sydney guests are really spoiled for choice when it comes to places to dine and stay. Whether you're looking for five-star dining, family-friendly amenities, proximity to beaches, shopping, tourist attractions, night-life, or a specific cuisine – Sydney offers something for everyone. But there's one thing arguably in short supply in the thriving foodie capital, and that's tapas. A recently opened restaurant, set against sandstone walls and centuries old wooden beams, and nestled inside the stunning Hotel Woolstore 1888 in Pyrmont, has set out to change all that. Percy, which opened its doors in December, is a Spanish-inspired wine bar with Executive Chef Eli Lozada and chef Rosy Scatigna behind the grill. Drawing inspiration from Barcelona's lively and infamous tapas bars, Percy is about as close to Spain as you can get, without actually leaving the city. Scatigna, an Italian-born Australian-based chef, even spent time in San Sebastian, tasting the flavours, sipping the wine and soaking in the atmosphere, before landing on her approach to the cosy and charming wine bar, hidden in an unassuming pocket of the city. The laid-back, yet refined space is the perfect for a cosy date on a rainy night, or an intimate catch up with friends. The menu Menu highlights include small plates perfect for sharing, such as grilled octopus with thinly sliced kipfler potatoes, slow-cooked smoked chorizo, with sweet peppers, paprika and butter beans, and deep-fried roasted cauliflower. Larger dishes include succulent striploin, chargrilled pork chops, pan-roasted Blue Mackerel fillet, and of course, Paella. Desserts options on the menu include lemon sorbet, sponge cake served with cheese and white chocolate custard, Spanish custard made with caramelised white chocolate, and a cheese platter served with quince and dried muscat grapes. With wine bottle candlesticks on each table, dark red walls lined with bottles of Spanish wine, and dimmed lighting, the whole vibe inside the 50-seat venue embodies true Spanish style. I was lucky enough to dine at Percy with my sister, a rare night out together without small children, where we tucked into a handful of tapas, gobbled up Paella and shoestring fries, and washed it down with a few signature cocktails each. For a couple of hours, we were kid-free, carefree, and if we squinted our eyes while sipping on our second Spanish martini each, you could almost hear the waves lapping from the beachside promenade in San Sebastian. Stay If you're looking for somewhere to stay in or around Pyrmont – close to The Star, Darling Harbour, Sydney Aquarium, IMAX, Cockle Bay dining, and walking distance to the Sydney International Convention Centre, the Lyric Theatre, the QVB and Pitt st – Hotel Woolstore 1888 needs to be on your radar. As the third Handwritten Collection property in Australia, the hotel's storied history as a century-old Sydney landmark is what sets it apart. The unique Sydney property is part of Accor's global portfolio of 17 boutique hotels within Handwritten Collection, following its purchase by the new owners, Shakespeare Property Group. The restored wool store, originally built in 1888, is the fourth-oldest of the 21 surviving wool stores in Sydney. The four-level sandstone and brick building features industrial interiors such as ironbark beams and exposed brick, with flourishes of pop art throughout. The intention of the hotel's recent transition was to respect the building's rich heritage and historical character, while enhancing it with contemporary touches. With 90 guestrooms, including four suites with panoramic views and penthouse options, each room type has been renamed to honour historical sheep breeds and pastoral culture. In a nod to the hotel's original character, the breakfast menu even features the Sheepherder's breakfast, a hearty meal of baked eggs and potatoes. 'We are confident that our enhancements of Hotel Woolstore 1888 Sydney will position the hotel as a leading destination for discerning travellers. We invite guests to come and experience where history and bespoke service intertwine for an unforgettable stay,' General Manager Roya l'Anson said.
ABC News
7 hours ago
- ABC News
Gregory Porter on his jazz foundations and Michael Collins on the clarinettist-composer relationship
Gregory Porter is becoming a harder and harder singer to pigeonhole. His voice is at home in gospel, blues, soul, and R&B, but the foundation of it all, he tells Andrew Ford, is jazz. Gregory and his band are returning to Australia soon and he joins The Music Show (from vacation in Mexico!) to talk about bringing strings and a choir into his music, maintaining optimism, and his tribute album to musical hero Nat King Cole. Andy finds a moment at the Australian Festival of Chamber Music to speak with British clarinettist Michael Collins. After reaching the finals of the inaugural BBC Young Musician at the age of 16 he's had a formidable career on the concert platform. He's staying in Australia a little longer as he prepares to premiere Graeme Koehne's double clarinet concerto with Omega Ensemble in Melbourne. Gregory Porter and his band are touring Australia in October - playing Hobart, Sydney, Brisbane, Melbourne and Perth. Find the full details here. Michael Collins plays with Omega Ensemble 16-21 August in Melbourne, Sydney and Newcastle. Music heard at the start of the show: Title: Gnarly Buttons; i. The perilous shore Artist: Michael Collins Composer: John Adams Album: Gnarly Buttons & John's Book of Alleged Dances Label: Nonesuch Music in the interview with Gregory Porter: Title: Mister Holland Artist: Gregory Porter Composer: Gregory Porter Album: All Rise Label: Decca/Blue Note Title: Revival Artist: Gregory Porter Composer: Gregory Porter, Oliver Rockberger, Troy Miller Album: All Rise Label: Decca/Blue Note Title: Modern Day Apprentice Artist: Gregory Porter Composer: Gregory Porter Album: All Rise Label: Decca/Blue Note Title: But Beautiful Artist: Gregory Porter Composer: Jimmy Van Heusen, Johnny Burke Album: Nat "King" Cole & Me Label: Blue Note In the interview with Michael Collins: Title: Gnarly Buttons; ii. Hoe-Down (Mad Cow) Artist: Michael Collins Composer: John Adams Album: Gnarly Buttons & John's Book of Alleged Dances Label: Nonesuch Title: Chamber Symphony No. 1 in E major, Op. 9 - 1st movement Artist: The Nash Ensemble Composer: Arnold Schoenberg Album: Shostakovich, Schoenberg - Chamber Music Label: Virgin Title: Riffs and Refrains, concerto for clarinet & orchestra; Refrains Artist: Michael Collins, London Philharmonic Orchestra, Vladimir Jurowski Composer: Mark-Anthony Turnage Album: Mark-Anthony Turnage Label: London Philharmonic Orchestra At the end of the show: Title: The Music That I Make Artist: Leah Senior Composer: Leah Senior Album: The Music That I Make Label: Poison City Records The Music Show was made this week on Gadigal, Gundungurra, and Wulgurukaba Country. Technical production by Tegan Nicholls Are you a poet with something to say who loves music too? This Poetry Month, we've partnered with Red Room Poetry to launch a very special competition just for you. Middle of the Air celebrates poetry beyond the page, uniting poem and song in new ways while drawing on the rich history between these forms. So if you have a poem or lyrics to submit, the competition is now open.
