Culture

As a child, Tony Albert collected the Australian kitsch he now labels ‘Aboriginalia’, little knowing it would become a focus of his acclaimed artistic career.

Dark Mofo 2026 focuses on intimacy, reminding us of art’s physicality and the intensity of witnessing.

More a recitation than an exploration, Suzy Eddie Izzard’s The Tragedy of Hamlet is a generous act of shared cultural memory.

You find your seat without hassle. It’s not a busy flight. The man in the seat next to yours is tidy and small. He looks so clean you imagine he smells of Sunlight soap. And maybe he does, but as soon as you settle in and fasten your seatbelt, all you can smell is his breath. Before you register that you’ve caught his eye, he tells you he’s on his way to visit his son in Wellington. You now wish you’d untangled the wire of your headphones as you walked onto the plane.

Widow’s Bay, a genre-bending original from Apple TV, might be the best new television comedy in years.

Choreographer and outgoing artistic director of the Sydney Dance Company Rafael Bonachela has never allowed himself to be pinned down.

I look down at the screen. There are nine images arranged in a square. In the top row, a white puppy gazes longingly from a cage in what appears to be an animal shelter. One of its back legs is bandaged.

Beyond the headline shows of the Sydney Film Festival’s vast 2026 program are obscure but powerful works that canvass contemporary global issues.

Sydney’s National Art School is holding a retrospective of one of its most celebrated alumni, painter Mitch Cairns.

Steven Spielberg has always been the master of awe and his new film Disclosure Day is no exception. If only he trusted his intuition.