City Hub 30 May 2019

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The prestigious Sydney Film Festival (SFF) celebrates its 66th presentation The prestigious in June Sydney Film Page 7 Festival (SFF) celebrates its 66th presentation in June Page 7

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city hub 30 MAY 2019

Is testing back on the table?

By ALLISON HORE Sydney is a multicultural city where many migrants speak English as a second language and international students bringing in millions of dollars per year.

In central Sydney, only 23 per cent of people speak only English at home, according to the 2016 census, with Mandarin, Thai and Indonesian making up the most common languages other than English spoken in Sydney households.

In the Coalition’s new Cabinet, David Coleman has retained his role of Minister for Immigration, Citizenship and Multicultural Affairs.

In Mr Coleman’s own seat of Banks, which covers Sydney’s south west, more than 40 per cent of residents speak a language other than English at home.

To be eligible for permanent residency and citizenship, migrants must prove their English language ability by completing a test, the most popular being the International English Language Testing System (IELTS) exam – a test which has a listening, reading, writing and speaking paper and is scored along nine bands.

Testing not an exact science In October 2017, the Government moved to toughen the English language requirements for migrants seeking citizenship. Initially, the government wanted migrants to score six across all skills but the Senate blocked the changes and the requirement was scaled down to a “more moderate” five. Whether the Government decides to attempt the move again in this term remains to be seen.

The English language testing used to determine a student’s readiness for university or a person’s eligibility for immigration isn’t an exact science, and is big business for test providers.

Those taking the IELTS test must pay $330 for each attempt, and if they do not score the band they need in one section they must re-sit the entire test.

requirement. Some of them had to sit in this exam over ten times.”

IELTS isn’t the only testing system which immigration officials and education providers use to assess a person’s language ability. Other testing systems like the Pearson Test of English (PTE) are also used, but they also have their flaws and even native speakers can fall into the gaps.

In 2017, an Irish vet, Louise Kennedy, who had earned two degrees in Australia, did not reach the required English language score to apply for permanent residency in Australia.

While she “blitzed” all other sections, her score on the computer-assessed PTE speaking test was not high enough for her to be given permanent residency.

A snapshot of Australia’s multicultural society. Photo: Wikimedia Commons

“I have so far spent approximately $8,000 on tests and coaching but every time I have fallen short by a very small margin. Something that I fail to understand is how come I haven’t been able to improve my writing despite having improvement in all other areas,” one candidate who has taken the test over 20 times told SBS Punjabi.

Why are we forcing migrants to sit this test again and again? Although the candidate achieved a near perfect score in three sections, it was her writing score that prevented her getting the band she needed.

“It costs me too much because every time I pay $330 for the exam and the travel expenses,

my husband has to leave work to take care of our baby every Saturday while I take this exam.”

And after completing the exam, the score earned lasts only two years, meaning candidates have to sit the test again if they want to maintain a valid score.

Greens candidate for the Queensland Senate Navdeep Singh told SBS Punjabi that he believes the system needs a major overhaul.

“It should be urgently reviewed as there are flaws in this system. Why are we forcing migrants to sit this test again and again? I wonder how your English can expire,” Mr. Singh asks.

“I know people who are under severe depression. They’re frustrated with their repeated failure to get through the English

English programs an investment Last year, Mr Coleman said the government was “in consultations” to reintroduce elements of the controversial legislation which was quashed in the Senate.

“Having some English is obviously a good thing in Australian life,” he said.

“The more English people are able to speak, the more they can contribute in Australian life.”

Currently, new migrants are entitled to 510 hours of English language training to help them settle. Greens Senator Mehreen Faruqi says the key to ensuring migrants and refugees can integrate and participate in their communities is not more testing, but investing in further training.

“The cost of an English program that is holistic and that provides support to migrant communities is actually not a cost – it is an investment,” she told SBS News.

“Basic access to education and employment comes through language. That is the real critical importance of these programs.”

With the Coalition back in business and Mr Coleman retaining his portfolio, time will tell whether or not stricter English language requirements will be championed again.

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BY RITA BRATOVICH The ink has barely dried on the last ever edition of Central Sydney and its absence is being felt already.

The local newspaper has served the nexus community for around 15 years, establishing itself, at least in its early days, as a media organ of integrity and a true mouthpiece of the people.

After it was pulled into the cluttered orbit around Murdoch several years ago, the paper lost much of its feisty independence, yielding to the generic banality required to satisfy commercially driven KPIs. The “bottom line” determined the existence or not of a newspaper, and nothing else.

“Big companies are making their decisions based on profits only,” agrees City of Sydney Councillor Angela Vithoulkas.

“It’s very sad, very sad. It’s very hard for local issues to get heard because they often aren’t perceived to be relevant to a bigger publication,” says Ms Vithoulkas.

“There is an audience that reads print publications but doesn’t read online, so there’s nothing to serve that audience now,” says Ms Vithoulkas, the founder of the Small Business Party and an

Independent Councillor who has been on the front cover of Central Sydney several times.

Pam Walker co-founded Central Sydney with Nick Olle and was its original editor in 2004.

Central dodged a bullet because I threw a tantrum Walker and Olle shared a high journalistic standard that won the paper “Best Free NonDaily Publication in the Pacific Region” in its first year. It was their coverage of the Redfern Riots sparked by the death of indigenous teen, Thomas “TJ” Hickey, that established trust and respect for the paper.

“It was a real newspaper, then,” says Ms Walker. “I remember taking Nick with me to ‘The Block’ at Redfern and we went to all the organisations and gave them a [business] card and said, ‘This is your local paper. If you have an issue call us’.”

Ugly truths exposed by Central A spokesperson for The Block did call. He agreed to talk as long as the paper told the truth.

“And we’ve got some ugly truths here,” he said.

Central Sydney bites the dust.

Photo: Crazeco

Some of those truths included drug abuse, theft and paedophelia.

Central reported faithfully and consistently on issues within the local Indigenous community, often being given exclusive access.

When it came to editorial purity, Walker was stalwart. During the 2004 federal election, she noticed a layout that included advertorial around the election stories.

“I threw a tantrum and I said there’s no way! They’re ads. You can put them in the back with the lifestyle stuff. I’m not having

them anywhere near my election coverage,” she recalls.

The Media Watch program later shamed newspapers that had printed paid political advertorial.

“Basically, Central dodged a bullet because I threw a tantrum,” laughs Walker.

She fondly remembers some of the photographers who had worked with Central. One was covering a new business opening in Redfern at which Uncle Max Eulo was performing a smoking ceremony.

In an opportune moment, the photographer captured a gorgeous portrait of Uncle Max holding a white baby that belonged to friends. It became the Harmony Day cover photo for Central and has been described as one of the best Harmony Day images ever captured.

Walker says she really enjoyed the initial years as editor of Central before departing to become press secretary for Clover Moore.

In 2016, she found herself at News Limited (now News Corp) and was able to sneak a peek at what the new management was doing with Central. She immediately knew its days were numbered: Central Sydney published its last print edition on 17 April 2019. city hub 30 MAY 2019

3

Building futures

BY JOHN MOYLE Buildings directly and indirectly account for almost 40 per cent of global energy consumption and that is why this week Waverley Council rolled out the second phase of its Building Futures program aimed at reducing energy costs across the municipality’s strata buildings.

To date, 10 buildings have completed this first roll-out of the program that originated in May 2018 as part of Waverley Council’s Green Infrastructure Master Plan that maps a sustainable future for Bondi Junction.

Out of the 30 or so high-rise buildings in Bondi Junction, more than 10 buildings have participated in the program over the past two years.

This second phase will see another 10 strata buildings participate in the program that is designed to save each strata management up to 20 per cent from their common area usage resulting in savings of tens of thousands of dollars and a reduction in climate change output.

Matched funding for program The program is free and provides matched funding up to $5,000 towards energy assessments and the retrofitting of common area lighting and CO2 monitoring and ventilation equipment for carparks.

“It also drills down into areas like swimming pools, air-conditioning use, and savings in greenhouse gases emission, water usage, leaking taps and waste management, which are audited,” John Wakefield, Mayor of Waverley Council said.

The first part of the program concentrated on buildings in Bondi Junction, including the Oscar on Hollywood, The Crown, Spring Street Apartments and Vue Apartments.

“The pro-active support that we received from the Building Futures program encompassed broad technical knowledge and experience that was

Waverley Council Mayor John Wakefield at 105 East. Photo: Bob Hughes

all coordinated via one channel,” Ken Murphy, Treasurer, The Oscar on Hollywood said.

The most common item to be eliminated are highly inefficient halogen downlights, often referred to in the industry as the cockroaches of the lighting world due to their high energy usage and propensity to become fire hazards.

These are replaced by low-energy downlight fittings such as the more efficient and safer LEDs or compact fluorescent lamps.

Council is in a prime position to support local building owners Each building on average is expected to save more than $10,000 per annum from their electricity bills with a payback period of around 2.5 years, while saving an estimated 535 tonnes per annum on carbon emissions.

Around 83 per cent of the population live in multi-unit dwellings where up to 60 per cent of energy usage is in the common area.

Strata owners and body corporates often find themselves facing situations of which they have little or no knowledge or expertise.

“Council is in a prime position to support local building owners in their goals for more carbonfriendly and budget-friendly buildings, especially where related incentives for apartment buildings fall short,” Mayor Wakefield said.

“Local government support programs like Building Futures are championing sustainable solutions for strata on the ground when they are often left behind in other residential policies and incentives,” Christine Byrne, Director of the notfor-profit Green Strata said.

The fact that these often recently built buildings require remedial action can be attributed to the

lax implementation of state building codes, the pressure from developers to cut costs and the push for aesthetics ahead of environmental outcomes.

NABERS is the National Australian Built Environment Rating System with the goal of “supporting a more sustainable built environment through a relevant, reliable and practical measure of building performance”.

The organisation rates the energy performance of buildings on a zero to six scale.

Mayor Wakefield said, “Building Futures is part of NABERS, and the idea is to get these buildings into the NABERS program either to start with or to get their NABERS rating higher”.

“All of these buildings are existing buildings and some of them are fairly new and we would have hoped that they would have rated higher.

“We try and capture through the DA process the design outcomes that will lead to energy efficiency but often aesthetic and cost concerns are at the top of the designers and developers list when it comes to new buildings.”

Plenty of room for uptake With around 200 high-rise apartments buildings in the Waverley municipality there is still plenty of room for uptake.

“We hope that most or all of the medium to highrise buildings in the municipality in the next few years will take up the program,” Mayor Wakefield said.

Waverley Council is also working to reduce its own carbon footprint in its own business practices by completing energy efficiency upgrades, installing solar and constructing rain gardens for its own facilities.

“This is our contribution to climate change action and it is something that we have factored into the budget over the next few years, but it is also part of our belief in practical change for climate change outcomes,” Mayor Wakefield said.

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Heat treatment

BY MARK MORDUE “We are heading towards 50 degrees summer days by mid-century. Before the mid-century if you look at temperatures being reached in places like Penrith last summer.”

The words of Abby Mellick Lopes, Senior Lecturer in Design and Researcher at the Institute for Culture and Society at Western Sydney University, were matter-of-fact.

But like much of the information at the Rethinking the Urban Forest conference in Marrickville on Friday 24 May, it came both as a wake-up warning and a call for solutions before it is too late.

Initiated and hosted by the Addison Road Community Centre Organisation, Rethinking the Urban Forest brought together all kinds of theorists and practitioners – from scientists through to arborists, from ecologists through to architects, artists, urban planners and politicians – mixing and uniting their visions for greener, better cities today.

Nearly 30 speakers and more than 180 delegates from all over the city, and indeed the country, arrived to share ideas and experiences in an innovative “crossdisciplinary conference,” the first of its kind ever held in Australia.

Climate crisis linked to inequality The conference was opened by Rosanna Barbero, CEO of the Addison Road Community Centre Organisation. In her address, she said, “It’s important to answer the question I’ve been asked a few times when people have wondered why Addi Road has got behind creating and hosting this conference. The answer is we see the many links between climate crisis and social inequality.

Models of unsustainable development can no longer continue.”

“We need a more civil society, and for government at every level to address community concerns,” Ms Barbero said. “This event and its ambitions are fundamental

inspired by indigenous views that could be incorporated into legislation.

“It gives trees a presence in the imagination of people and it gives trees a formal voice,” he said.

Peter Davies, Head of the Department of Environmental Sciences and an Executive Member of Macquarie University’s Smart Green Cities Research Centre, said, “Our cities are modified ecosystems.

They’re fundamentally changed and changing on a day-to-day basis. Every day we are growing. In essence that just means we are clearing more land.”

He examined “the fragile premises” behind urban planning and what limited environmental thinking is present, which “really means we’re just losing habitat and green spaces at a slower rate.

But we are still losing it.”

According to Davies, a big problem lies in “planning focussed on development as an asset, but very little thinking that is strategic. We’re not Delegates preparing for the Rethinking the Urban Forest. Gumbramorra Hall, Addison Road Community Centre. being very clever”.

Photo: Mark Mordue

to our charter, namely ‘to help create lasting alternatives for social, economic and environmental justice’.”

On the first panel for the day, Abby Mellick Lopes noted that “Cooling happens in private spaces. This mostly means air-con and greenhouse emissions when it’s hot,” she said.

Using heat maps of the city, Lopes observed increasingly high temperatures in places like Penrith and western Sydney generally.

“What we are seeing… is an economic and spatial inequality emerging,” she said.

In other words, where you can afford to live will determine your capacity to move around as our summers get hotter and hotter. In the western suburbs of Sydney, that problem is going to become much worse without a concerted effort to “cool the commons,” as Lopes puts it.

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different approaches to planting them, including moving beyond “this habit we have of always planting trees in a single row,” Lopes added with comic exasperation. “We need copses of trees too.”

Councillor Jess Miller of the City of Sydney alerted people to “Local Planning Strategy” platforms being developed by many councils now. These plans will “effectively determine whether or not you get enough green space in your areas for the next 10 years!” she said.

We are heading towards 50 degrees summer days by mid-century Dr Marco Amati, Associate Professor in International Planning at RMIT University, spoke about the possibility of trees having legal standing, even “legal personhood,” an idea

A little green turf matters Davies gave this example. “An architect might have a vision. Look at my wonderful green vision. They get permissions from councils and other bodies.

Along the way to it being developed the money runs out. And suddenly the green bits fall off first.

Eventually you have a non-green landscape. The notion of amenity has gone.”

But it’s not just large-scale developments that matter. The nature of our homes does count for something.

“Gardens matter. A little green turf matters. Turf is not the best thing, but it’s a far better proposition than concrete. Every little bit matters,” Davies said.

The bridge to this thinking lies in preserving small pockets of bushland and parkland in urban environments. As we lose those oases, Davies said, we get ourselves into deep trouble in our cities, destroying micro-habitats and affecting biodiversity in ways that cannot be healed.

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5

Marrickville Legal Centre’s birthday woes

By Joan Henson Marrickville Legal Centre’s (MLC) managing principal solicitor Vasili Maroulis hopes that a state government funding shortfall, arriving on its anniversary, allows it to survive “another 40 years”.

Last Monday, the Centre, which serves a catchment of 1.5 million and deals mainly with employment law, lost its sole employment solicitor.

“His position will not continue after 30 June and that is a direct result of over $200 000 in funding that is not being renewed,” Mr Maroulis said.

Nicknamed “the war horse,” the affected solicitor largely represents culturally and linguistically diverse (CALD) clients, who will be referred to pro bono partners if funding for his position is not forthcoming.

The NSW government’s 3 May 2019-2022 tender allocation increased the sector’s funding pool by $1.86 million in the next financial year.

Ten centres lose funding However, the peak state body for community legal centres says that the corresponding redistribution of funds will result in 10 centres losing $671,582 in total funding in that same financial year, including the MLC. Mr Maroulis began managing the MLC eight weeks ago, and is working to limit service reductions as the Centre retains about 62 per cent of its pool one fund.

Despite this, he says reduced funding will have a significant impact on CALD contacts, particularly “our catchment areas in the south west”.

The Centre’s catchment covers 30 per cent of Sydney’s population, according to its website.

Mr Maroulis says there is already a “chronic level of unmet legal need”. “[The catchment] captures a lot of areas of high level need, so we’re never really able to meet all the demand for our service.”

The MLC received 29,110 calls in the past 12 months, including 9,468 voicemails, which

When the tender results were released, Community Legal Centres NSW (CLCNSW) Executive Director Tim Leach requested that the state government “immediately find” the $671,582 in total funding to “restore these valuable programs before the end of the financial year”.

As June approaches, some affected centres are protesting the shortfall.

Northern Rivers Community Legal Centre posted a photograph to Twitter of staff stripped down to a cardboard sign, asking: “what more can they cut from our community legal centre?”

Before the federal election, Shadow AttorneyGeneral Mark Dreyfus promised that if elected the ALP would increase Commonwealth community legal centre funding over four years.

It would increase core funding for centres by $20 million, plus $4 million for their national peak body.

Amani Haydar speaking at the Social Justice Slam at Bankstown Arts Centre.

Photo: Bankstown Poetry Slam, Facebook

volunteers try to respond to during business hours.

That is an average of 606 calls per week, including 197 voicemails.

In the same 12-month period, 12.5 per cent of MLC’s contacts were referred or turned away.

On 17 May, the MLC partnered with the Bankstown Poetry Slam (BPS) to celebrate its 40th anniversary.

The theme was social justice.

Layla Mkh, BPS alumni, lamented: “… it’s hard for me to comprehend, that this land makes me feel so alone, but I somehow, still call Australia home”.

Another poet, Doug Belton, mused, “politics: powerful promises weaponised, packaged for profit and not for the nickels and dimes”.

The event’s headliner, Amani Haydar, highlighted the problem of unrecognised legal need in a speech.

Ms Haydar is a 2018 Archibald Prize finalist, women’s rights activist, and lawyer.

Her mother was murdered by her father in 2015.

She said that the “core issue” of inequality cannot be addressed in a court trial.

“For example, my mum experienced many years of emotional abuse prior to the murder. Her experience of emotional abuse was not given a voice, because it had been invisible to most people around her, because the law can’t identify it.”

Reduced funding will significantly effect CALD clients She told City Hub that the poetry line-up expressed how “[CALD] youth navigate their lives through complex experiences of disadvantage and trauma… cuts to community legal centres deepen disadvantage and further isolate vulnerable communities.”

Centres’ tender process In response to April’s federal budget announcement, the national peak body for community legal centres said that it was disappointed there was no additional funding for their organisation, but welcomed a $7.25 million increase over three years for the centres they represent.

In April 2017, the state government introduced $6 million to the sector over two years in response to a pending federal shortfall.

The present state tender process stems from a December 2017 review that recommends an application-based funding model of three-year contracts for all state funding to community legal centres from 2019-2020.

A representative of CLCNSW told City Hub that, “the sector is waiting for a report about the tender process that we expect will shed light on the panel’s recommendations”.

Marrickville Legal Centre: (02) 9559 2899 Kids Help Line: 1800 55 1800 1800RESPECT: 1800 737 732 Lifeline: 13 11 14

Queens Park’s shared pathway

BY VANESSA LIM A pathway link between Randwick and Waverley will soon provide a safe pathway for people who cycle or walk in the Centennial Parklands.

Centennial Parklands addressed the need for the original pathway back in the 2016 Queens Park Master Plan, but the potentially high costs were not being covered at the time.

The collaborative Queens Park Pedestrian & Cycle Pathway project with Randwick City Council and Waverley Council has now progressed after receiving a grant from Roads & Maritime Services.

The project is set to commence in early 2020, meaning the public will soon have access to the much needed pathway link.

BIKEast President and Waverley local Mark Worthington was happy with the progression on the project so far.

“It’s always good to know that the project planners have both a design plan and a way to receive the funds.”

A more accessible route Mr Worthington said cyclists travelling through Queens Park would have a more accessible route to both Randwick and Waverley.

“There’s another path in Queens Park which runs north up to Bondi Junction or south to Randwick. However, this new pathway will provide a good connection from Centennial Park to Bronte or other parts of Waverley and Randwick.”

Clovelly resident Garry Robinson, who owns the website biketrail.blog, has produced bike trail maps all over Sydney and was keen for a new shared pathway next to Darley Road.

“I would never ride on Darley Road as it is right now. I don’t like traffic and the road is too narrow 6

city hub 30 MAY 2019

because there is a lot of traffic, especially if you’re riding downhill. It would often be a preference by many average cyclists to use a path instead of the road”.

Mr Robinson also commented on the dangers of cycling on the road.

“The primary reason that we needed this was because cyclists around 4pm are riding up the hill and struggling with the traffic.”

While the project has been positive for the most part, Mr Worthington notes that some sections of the shared pathway are narrower than the standard width of 3 metres.

“There are constraints on the site due to the slopes, but we have asked if that can possibly be changed. We think that the medium that separates the footpath, for example, can be narrowed so cyclists and pedestrians have more space.”

Garry Robinson riding his bike where the Queens Park Pedestrian and Cycle Path will be built. Photo:Vanessa Lim

for both cyclists and cars. Clovelly people usually go on the backroads and then onto Clovelly Road, but a lot of them will switch to this new path when it comes.”

A Centennial Parklands spokesperson said that this link would reach further locations in Sydney, and “would also complete a network of perimeter paths around Queens Park by linking with the existing shared pathways along the northern and western park boundaries”. The need for a “safe and accessible” pathway next to Darley Road, Queens Park has been addressed in this new project.

Mr Robinson commented on the current accessibility of Darley Road for cyclists.

“Travelling on the road is fine for the good and fast cyclists, but for the average mum and kid, it’s too scary to cycle up Darley Road.”

A Centennial Parklands spokesperson said, “The pathway will significantly improve safety for children, pedestrians, cyclists, and motorists along Darley Road between Carrington and York Roads.”

For the average mum and kid, it’s too scary to cycle up Darley Road Another issue addressed was the steepness of Darley Road. This could be a safety issue for pedestrians using the current narrow pathway, or for cyclists who aren’t comfortable with using the busy road.

Mr Worthington said, “It’s quite a bit of a climb and riding on the road can be dangerous

Better track for walkers Mr Robinson, on the other hand, didn’t mind the proposed width of the sharepath.

“I don’t think the path being slightly narrower will matter that much. The main thing is the pathway is there. Most cyclists that I notice just adjust to whatever the conditions are. People walking are going to love it. Right now they’ve just got a dirt track and some wet grass that they’ve got to walk on.”

The project would also deliver an upgrade to the area.

A Centennial Parklands spokesperson said, “It would also provide an opportunity to significantly enhance the quality of the landscape in a highly visible but slightly degraded part of the park We are currently in the process of reviewing the submissions and an update on next steps for the project will be made public in the near future”.

Public consultation for the project was held from 6-24 May 2019.

FEATURE

Make It Australian

By Mark Morellini The prestigious Sydney Film Festival (SFF), which is regarded as one of the most prominent and diverse in the world amongst filmmakers and festival attendees alike, celebrates its 66th presentation and audiences should be mesmerised by the alluring program showcasing 307 films from 55 countries.

This year there has been a resurgence in Australian cinema, highlighted by the selection of 23 Australian films which have their world premiere at this film festival, including Rachel Ward’s family drama Palm Beach, revenge tale Judy & Punch, political drama Slam, and poignant Hearts And Bones, which stars Hugo Weaving.

Standing Up For Sunny is an Aussie rom-com written and directed by Steve Vidler which should prove to be a crowd-pleaser at the festival. “It’s about a young guy called Travis (RJ Mitte) with low-grade cerebral palsy who has built an angry, isolated shell around himself to protect from being treated differently, but when he turns that anger (hilariously) against a drunk heckler harassing an unassertive comedienne called Sunny (Philippa Northeast), he discovers an outlet to express himself,” explained Vidler.

“He and Sunny form a bond, but when she gets too close, his old self-protective mechanisms kick in and he pushes her away. He has one chance to win her back – from onstage during the televised final of the biggest comedy contest of the year.”

This film which was initially penned as a play until Vidler thought it felt more like a film, stars RJ Mitte who has cerebral palsy in real life and is best known for his role on American produced television hit series Breaking Bad. “Surprisingly it wasn’t difficult to get RJ to come on board. He read the script and responded immediately. We had a brief skype meeting so RJ could see I

Standing Up For Sunny Director Steve.

Photo: Suppled by SFF

didn’t have two heads (though he’s so cool even that probably wouldn’t have fazed him!) and he committed right away.”

Vidler was adamant that having a film screen at the Sydney Film Festival could open many doors for talent who have worked on the film – and for the film itself. “SFF is a highly regarded event.

Even in LA people respond with plenty of enthusiasm and excitement when they hear the film is screening there. The overwhelming majority of the Australian film and TV industry get along to the festival, and there’s always a

strong interest in the new Australian films on the program.”

And the initial feeling when you discover your film has been chosen to screen at this festival? “I have to admit it’s a bit of a buzz.You’d have no pulse if you don’t get a kick out of knowing that your film is having its world premiere at the gorgeous State Theatre!”

Vidler is enthused about the flourishing future of the Australian film industry, stating that the established and up-and-coming talent is paramount to its success. “With the shift in distribution towards streaming platforms, the window of opportunity for Aussie films to reach the world is increasing. It’s an exciting time to be a filmmaker!”

Australian feature documentaries are also prominent at this year’s festival, which includes the indigenous offering She Who Must Be Loved, refugee-based Sanctuary and Martha: A Picture Story, the story of photographer Martha Cooper.

Australian documentary filmmaker Sascha Ettinger Epstein, whose previous effort The Pink House (2017) won the Documentary Australia Foundation Award, returns with Life After The Oasis, a follow up to 2008’s Oasis which shocked Australia with its insight into homeless teenagers living in a gritty youth refuse in Sydney.

“Australian feature documentaries are so important.There are Australian people,Australian issues, the context of the times,” explained Epstein.

It’s so fascinating to go back and watch documentaries from the 80s or the 70s, as it just captures a window in time. I love documentaries. I can’t watch drama anymore!”

Oasis put youth homelessness on the map in 2008, detailing how the services were failing them, the social inequality and how the policies to have homelessness eradicated by 2020 never came to fruition. A decade later with so much

inaction, this follow up documentary traces where these youth’s lives have gone, some stories are uplifting while others are tragic, and where significantly society and politics continue to fail this issue.

“Social inequality is now in the news because of housing affordability issues. Nobody can pay their power bills – our society is getting more and more divided into have and have-not. People need their basic human rights. I’m interested in the stories of people, but they inherently have a political message.

That’s the best way to get the message across, through people’s personal stories.”

This documentary was 18 months in the making and Epstein who wrote and directed the project said she thoroughly enjoyed making this film which resonates how resilient and adaptable people are and how trauma can be overcome.“On a political level the message is; look at the state of our society – the stark divide!”

Epstein is proud to have her film as part of the documentary line-up at the SFF.“I love having my documentaries screen at this festival! It’s great because it’s the hometown and I love going to see lots and lots of Australian and international documentaries. I feel it’s a prestigious festival.”

And how does the future look for Australian produced feature documentaries?

“It’s very hard to make a feature documentary in Australia in the current climate.We’re lucky though because many countries don’t have government funding for filmmaking.There’s a campaign at the moment,‘Make It Australian’ because they want quotas for Australian content now that we have all these streaming services, so I think that would be wonderful if this campaign was successful.”

Jun 5–16.Various Venues. $21-$162 (Flexipass 10 tickets).

Tickets & Info: www.sff.org.au

CITY RECITAL HALL PRESENTS

CONCERTOS ON FIRE

FRIDAY 7 JUNE 7.30PM This experimental presentation brings together fire-taming violinist Sonja Schebeck and interdisciplinary acrobatic ensemble The Freestyle Orchestra in a unique integration of contemporary music, modern circus, and physical theatre.

Supported by the City Recital Hall Bravo Circle Tale of the Firebird has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body

City of Sydney is a Principal Sponsor of City Recital Hall

BOOK TODAY cityrecitalhall.com 02 8256 2222 City Recital Hall 2 Angel Place, Sydney city hub 30 MAY 2019

7

ARTS & ENTERTAINMENT Bobby Fox: The Irish Boy

Thrones! The Musical Parody

The biggest thing on the small screen, Game Of Thrones, has ended after eight record-breaking seasons, leaving many fans heartbroken.

Others might be glad all that suspenseful mayhem is over. Both camps are likely to enjoy Thrones!, A Musical Parody of the HBO series, coming to the Opera House (along with winter, it seems).

A group of GoT devotees gather to watch the final season, only to discover that one of their party has never seen even one broadcast of the show.

Dismayed, the gang decides to re-enact

all the aired episodes, playing multiple characters replete with zany costumes and a lively original score.

“The Opera House is a terrific home for dynamic storytelling and I’m excited to see this hilarious musical parody, which took the Edinburgh Fringe by storm, revisit every scheme, scar and sacrifice,” says Sydney Opera House Head of Contemporary Performance Olivia Ansell.“Winter is coming!”

And be warned: like HBO’s GoT, Thrones! is racy, rude and often undressed, and so it is recommended

Ben & Peter as Stephanie & Maxine

Photo: Daniel Linnet

Bobby Fox is one of the brightest stars in Australia’s entertainment industry. In a career that spans musical theatre, dance and the recording industry, he has cemented himself as one of the most charismatic and talented performers in the country.

Before Fox heads to Adelaide for their cabaret festival Sydneysiders can get an early look at his brand new show. In this brand-new show, Bobby is delighted to combine all of his many talents in a celebration of his heritage and homeland.

The Irish Boy is a stunning combination of traditional and modern Irish music, dancing, storytelling and song brought to life through Bobby’s unparalleled showmanship.

With a background performing on stages around the globe for shows such as Jersey Boys, Hot Shoe Shuffle, Blood Brothers, Assassins and, Saturday Night Fever Fox is sure to create an unforgettable night for the audience.

Get out and be one of the first people in the world to see this show.

Jun 5. Sydney Opera House, Bennelong Point, Sydney. $59-$69+b.f.Tickets & Info: www.sydneyoperahouse.com

Directed by Stephen Snars and produced by the Castle Hill Players, Leading Ladies follows the adventure of two English actors, Leo and Jack, who end up attempting to inherit an old lady’s

city hub 30 MAY 2019

sense of humour many of the characters never knew they had. (OA) Jun 5-23. Opera House, Bennelong Point, Sydney. $45-$75+b.f.Tickets & Info: www.sydneyoperahouse.com

Leading Ladies inheritance by impersonating her nieces. Leading Ladies features costume changes left, right and centre, and the fast-paced humour will keep audience members rocking in their seats from laughter.

Sydney actress Nicole Harwood plays Meg, a young optimistic character living in the town that characters Leo and Jack come to.

“I think the fact these two ‘women’, as you can call them, come along and show her that there’s a big world out there and she can do more with her life…and that excites her,” said Nicole.

Nicole spoke about the pace and farce of the show, describing how incredibly hilarious the

dialogue in the script is and the experience audiences can expect saying, “the audience is kind of not really gonna know where to look because there is so much happening. There’s a lot of hidden gems in the show!”

Audience members can make their night at the theatre seeing Leading Ladies a complete package with the option to enjoy a two-course pre-show dinner at Nobles Restaurant in the Hills Lodge Hotel. (MB) May 31-Jun 22.The Pavilion Theatre, Castle Hill Showground, Gilbert & Carrington Roads, Castle Hill. $22-$27+b.f.Tickets & Info: www.paviliontheatre.org.au

Burrbgaja Yalirra (Dancing Forwards) Burrbgaja Yalirra is a triple bill of solo dance works connected by a common thematic thread. Produced by leading indigenous intercultural company, Marrugeku, it deals with ideas around national identity, history, and relationship to land. Each work is diverse. Edwin Lee Mulligan’s Ngarlimbah is a traditional indigenous story told using spoken word and animation. Dancing With Strangers is an examination of colonialism and the abrasion between two cultures. Miranda takes its name and basic concept from the character in the classic Australian novel, Picnic At Hanging Rock, and is danced by Miranda Wheen.

“She’s always kind of loomed in my world…” says Wheen, referring to the first name connection. Her work explores the dissonance between white Australians and the bush. Hanging Rock has a lot of historical significance for the local indigenous people with an abundance of stories, yet the myth most associated with it is the fictitious mysterious disappearance of a white private school girl.Wheen thinks there’s a certain irony in the posthumously released final chapter of the book, which deals with

a&e

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for ages 16 plus (15 and under must be accompanied by an adult). So yes, expect the naughtiness! And probably just a few more laughs than the original. Grab your own gang and head to the Opera House to discover a

18 STAGE 10 SCENE 11 Sounds 11 SCREEN

abstract concepts around time travel.

“I found it an interesting parallel to what I feel a lot of White Australia is like dealing with its history… unable to make a leap into a different understanding or a different way of thinking about something,” she explains.

For her work, she’ll be wearing a simple white dress, similar to a Victorian undergarment, which will actually transition towards the end of the dance.The backdrop will be lit to give “a real sense of the rock - this sort of looming landscape in the back.”

“You really have a sense of the presence of this big, natural force behind the performance,” says Wheen.

Wheen’s work, as with the other two pieces, is open to interpretation and doesn’t rely on familiarity with Picnic At Hanging Rock.

“People will read it depending on their knowledge of the book or not. It starts off with Miranda from the book and ends in a much more contemporary place.” (RB) May 30-Jun 1. Carriageworks, 245 Wilson St, Everleigh. $35+b.f.Tickets & Info: www.carrageworks.com.au

Arts Editor: Jamie Apps For more A&E stories go to www.altmedia.net.au and don’t forget to join the conversation on Twitter at @AltMediaSydney

Eric Avery in Dancing with strangers, Miranda Wheen in Miranda.

Photo: Jon Green

Contributors: Irina Dunn, Mark Morellini, Olga Azar, Rita Bratovich, Joseph Rana, Madison Behringer, Allison Hore, Renee Lou Dallow, Alannah Maher.

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HIV Work Ready Program Supporting people living with HIV to engage in training and mentoring to prepare for paid or voluntary work roles To find out how you can get involved contact Positive Life NSW Phone 02 9206 2177 Freecall 1800 245 677 Email workready@positivelife.org.au city hub 30 MAY 2019

9

THE NAKED CITY

THE MUSEUM OF OLD AND NEW TRAINS With Coffin Ed Health Warning: It’s not too late to get your brain vaccinated against the current influencer epidemic!

In a relatively short period of time the internet has thrown up some truly disgusting and abhorrent people and practices – too many of them to detail here but just to remind you, think of trolls, white supremacists, child predators, political manipulators and scam artists.

A more recent addition to that reprehensible roster, although warmly embraced by many, would be the so-called ‘influencers’ – celebrities and those with a talent for being noticed who profit big time by pushing products and services to their devoted social media following.

Instagram, Snapchat and YouTube are their regular pulpits where they enthusiastically endorse an often expensive range of beauty products, fashion items and leisure time activities. The big name influencers are paid thousands of dollars to push this stuff with the top echelon pulling in millions each year.

When the now notorious and ill-fated Fyre Festival began its marketing campaign in the US, it was well-known influencers who were paid thousands to promote the event as a must go destination. Their target audience was the cashed-up millennials and they fell for the hype, hook line and sinker.

You would hope that anybody with a

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to a range of human motivations like vanity, inclusion and self-importance. Well detached from reason and sober analysis.

For many years it’s been the Hollywood stars or sporting heroes who have given their mark

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discerning, independent and even mildly cynical head on their shoulders would reject this kind of manipulation. But we know that’s not the case and it’s largely why a lot of consumer advertising works in the first place. It appeals

of approval to a range of products in TV and magazine advertising. Some are even anointed as brand ambassadors and most are paid plentifully for their allegiance. But for the techsavvy millennials, it’s their Instagram gurus they look to as to what brand of overpriced moisturiser they should be luxuriating in or whether to book their very own cabana at Fyre Festival.

Today the influencers are everywhere, from Kendall Jenner to PewDiePie and the Try Guys.

If you were born before 1980 chances are you have never heard of these people or are smart enough to treat them with the disdain they deserve.

Get on a bus or train these days and the odds are just about everybody is glued to their smartphone. You would like to think the older folk are catching up on the latest world news, checking to see who is our new Federal Labor leader, whether Theresa May is still British PM or if Nigel Farage has been doused with another banana milkshake. You would hate to think that the younger folk are not all tuned to Instagram or Snapchat, slaves to some horrendous, product flogging influencer – but chances are many of them are.

Unfortunately, there’s no jab available to protect you from the influencer epidemic, if you consider yourself susceptible. Only common sense can prevail and a healthy contempt for the shallow, ultra-materialistic, narcissistic world that the influencers promote.

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In what will be her Arthouse Gallery debut and her first major Sydney exhibition, renowned artist Kate Bergin will bring her newest show Tabletop Variations to the gallery from the end of this month and throughout early June. Featuring a delightful and sprawling collection of still life paintings, Tabletop Variations incorporates art history, Bach, paintings of both wild and domestic animals, and the intertwining of connection that engages these elements. Each painting captures animals suspended in movement, set atop a white table with various objects placed around them.

Artist Kate Bergin spoke about the connections within her work and the process of creating these pieces.

“It was about putting all these creatures on this tabletop in this theatrical domesticated space.

Where it’s unfamiliar to them but they’re able to gather and be harmonious together.”

Kate shared with us the creative process that plays a part in shaping her work, and she spoke of the attitude toward the art itself that flows into its creation.

“This is something that you need to be proud of to be a part of rather than thinking that we’re all… you know…mad geniuses. We’re sort of part of something extraordinary which is much more of a privilege I think.”

Kate’s Tabletop Variations will feature at Arthouse Gallery for the first half of June, with her playful and almost absurdist still life paintings being exhibited throughout. When asked of the experience Kate hopes her audiences will have when visiting the gallery, she said, “I’d like them to be initially uplifted by the colour and the movement, to feel a sense of joy at that…and then, hopefully, that brings them some engagement that allows them to ponder more things.” (MB)

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May 30-Jun 15. Arthouse Gallery, 66 McLachlan Avenue, Rushcutters Bay. FREE. Info: www.arthousegallery.com.au

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city hub 30 MAY 2019

By Jamie Apps If a friend or relative were to invite you to an orchestral concert it’s safe to assume you would likely get a very distinctive image in your mind.

It’s also safe to assume that that image would not include circus elements and fire eating.

Concertos On Fire, however, explores dynamic new directions in classical concert presentation. This concert features one of Australia’s most well-known violin concertos: Maninyas by Ross Edwards alongside the premiere of a brand new concerto Tale Of The Firebird composed by Chloé Charody for fire-taming violinist Sonja Schebeck and interdisciplinary acrobatic ensemble The Freestyle Orchestra in collaboration with local musicians.

Fire becomes an instrument of the ensemble, musicians fly and music springs to life from all corners of the concert hall.

Since graduating from the Sydney Conservatorium of music in 2007, Chloé Charody has created a style of music and a theatrical genre which is unique and has even been mimicked by other classical

Concertos On Fire

Photo: Andre Grilc

companies. The idea behind the concert/theatrical fusion “dates back to ancient times” as the group “explore the inextricable connection between music and movement with the purpose of explaining the interplay and intersectionalities between the physical and the musical artist.”

Obviously creating such a dynamic and unparalleled show was no easy task explained Schebeck.

“When you consider that playing an instrument already requires

concentrating on upwards of five different things at a time; during a show, we often have to bundle these into one singular aspect so we can concentrate on five different physical challenges as well.”

The biggest benefit to creating such a unique show though is that it can act as a gateway for music audiences who wouldn’t typically attend a classical performance.

“We have found that our previous shows which also fuse classical music with elements of modern

PLTS - Lonely Leaves circus, fire performance and breakdance have enabled us to reach audiences which may not otherwise have been naturally drawn to classical music, whilst also providing a new experience for existing classical music fans,” said members of the orchestra in a statement to City Hub. The upcoming show in Sydney will be a world premiere created specifically for the Vivid Festival, so the team are all very excited.

“We are extremely excited to make our Australian debut. For this show, six core members of The Freestyle Orchestra will join Australian musicians and creatives, becoming the Freestyle Symphony. For the group’s founder/director Sonja Schebeck, who grew up and studied in Sydney, attending performances at the City Recital Hall and dreaming of the staging possibilities here. To be coming back and realising some of her ideas is an exciting, full circle moment.”

Jun 7. City Recital Hall, 2 Angel Place, Sydney. $40-$60+b.f.Tickets & Info: www.cityrecitalhall.com

PLTS’ latest EP Lonely Leaves may feature only seven new songs, but it may be the band’s greatest work yet.

Each song is more unrestrained and honest than any of PLTS’ past pieces.The entire EP centres around nostalgia and reflecting on growth, loss, and change.

Overall, PLTS’ sound is more mature and wellrounded.

Most notably, the EP’s lead track Young Ones had already surpassed 77,000 streams by just three weeks since its release date along with much acclaim.The single is a classic catchy rock song about days gone by.

However, A Play About The Ocean better showcases the group’s vocal talents and harmonies.

The song also feels incredibly authentic and includes undiluted southern-rock guitar tones. (EE) WWWW

The Children’s International Film Festival

Will Smith is back! His lead act of singing, dancing and smooth-talking in the new Aladdin movie is simply entertainment at its best.Wait a minute - lead? See that’s the problem with Aladdin - Will Smith just simply overpowers the rest of the cast, and while that was kind of expected to a certain degree - keeping in mind Robin Williams’ epic performance in the animated one - a somewhat comparative dismal presence to the real leads (Aladdin, Jasmine & Jafar) really put a damper on what could have been one of the best Disney movies of recent years. It’s a bit harsh on those actors, given they have portrayed their roles as needed, but they just do not match up to the charisma of Smith.Will Smith had big shoes to fill for this one, and not once while watching did I think of

Robin Williams’ portrayal.And while that doesn’t diminish Williams’ act, it certainly says a lot about the ‘Fresh Prince’s.’

The resulting movie is still very good, just ironically not gold.

The story is familiar as expected, though Guy Ritchie’s directorial & cowriting efforts are worth praising, and given that the character of Jasmine was handed a strong feminist perspective, the movie certainly has been updated.

Watch it for the dancing and athletic antics of Aladdin, the bromance between the flying carpet and Aladdin’s monkey, or for the awkward yet hilarious romance between Genie and Dalia (Jasmine’s maid).There is enough humour and heart to make you wish you were there too.They seem to be having fun and so will you. (JR) WWW1/2

Rocketman Following the phenomenal success of the Freddie Mercury/Queen biopic Bohemian Rhapsody, a further array of films of this genre can be expected to showcase the lives and careers of iconic entertainers.

First off the mark is Rocketman, which lands into cinemas this week.This incredibly imaginative film which successfully utilises fantasy elements in storytelling delves into the life of the universally

The Children’s International Film Festival finally arrives in Sydney, after debuting in Melbourne last year, jampacked with 10 animations and 11 live-action feature films and a program of inventive short films by some of Australia’s youngest and brightest filmmakers.

“This is a selection of the best children’s films from all over the world,” enthused Eddie Tamir, the Artistic Director. “It’s the only opportunity audiences will have to see these films in cinemas and many won’t be on streaming services either.”

“Parents should enjoy these films just as much as their children. I do the programming and I love these films. There’s so much in them and they’re of such high quality. It’s not one of those things where you chuck your child into a cinema and wait outside with a good glass of wine.

Parents are definitely recommended to go in with their children because there’s a great joyous journey ahead.”

Parents who’d like to revisit a classic film with their children should come along to a screening of the 1974 family favourite The Little Prince which stars Gene Wilder. “We always run one classic film. This is an unusual and quirky musical interpretation of the great classic book and it’s very exciting to have that kind of film in the program to introduce to new audiences.”

Tamir promises there’s something to mesmerise all 4 to 15-year-olds and their parents as well! “This is the greatest opportunity to see the world through the best films from all over the world.” (MMo) **NOTE** CHECK WEBSITE FOR FILMS WITH SUBTITLES.

Jacob, Mimmi

TAMIR’S HOT PICKS MINUSCULE (France): Gorgeous and inspiring non-verbal combination of live action and computer animation. An incredible insect adventure story for all ages.

CHECKERED NINJA (Denmark): Animated adventure about a checkered ninja that magically comes to life and helps a boy solve

his problems. Tackles serious themes and was a box office hit in Denmark.

MOOMINS AND THE WINTER WONDERLAND (Finland): A Moomin (a character which resembles a hippo) decides not to hibernate at Christmas time.

An amazing adventure for younger children.

May 24–Jun 3. Ritz Cinema, 43 St Pauls Street Randwick. $12.50-$40+b.f..Tickets & Info: www.chiff.com.au

famous singer Elton John – the drugs, the booze, the sex, but more importantly the music.

Moving, joyous and heart-wrenching at times, this tell-all biopic can best be described as a musical, where the talented cast break off into song and dance in the tradition of Grease.The wall to wall music includes all of Elton John’s hits and should have audiences toe-tapping, singing out loud and perhaps even dancing in the aisles!

Movie-goers can be confident of the accuracy and validity of the events depicted in this motion picture, as Elton John is credited as executive producer.

Taron Egerton embodies Elton John perfectly, singing all the songs himself and delivering a performance which should be considered for a Best Actor Oscar nomination.

Regardless of the wealth and seemingly glamorous lifestyle, Elton John led, this film resonates his vulnerability and the underlying emotional turmoil which he suffered from a very young age, as he desperately searched for love and human contact until finally discovering it later on in life. (MMo) WWWW city hub 30 MAY 2019

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