FEBRUARY 12–26 MARCH 4–18 MELBOURNE CINÉMATHÈQUE ENING NIGH VITTORIO DE SICA: LIGHT AND SHADOW: 2020 SCREENINGS OP T CINEMA, ITALIAN STYLE THE MERCURIAL STARDOM OF MARLENE DIETRICH Presented by the Melbourne • subscription to the ACMI Member Cinémathèque and ACMI. E-news WEDNESDAY 5 FEBRUARY Vittorio De Sica (1901–1974) WEDNESDAY 12 FEBRUARY WEDNESDAY 19 FEBRUARY WEDNESDAY 26 FEBRUARY As a trendsetter who pushed the WEDNESDAY 4 MARCH • 3 x single passes to bring a friend will forever be associated with boundaries of conventional gender Curated by the Melbourne to a Cinémathèque screening any The opening night of our 2020 pro- neorealism, the movement he 6:30pm 6:30pm 6:30pm performance, and a femme fatale 6:30pm Cinémathèque. time in the calendar year gram features recent restorations of consolidated with a string of of the silver screen, Marlene BICYCLE THIEVES THE GARDEN OF TWO WOMEN DISHONORED key works by two of the towering fig- influential masterpieces detailing Dietrich’s (1901–1992) sexuality Supported by Film Victoria, the ures of post-World War II European the hardships of working-class life Vittorio De Sica (1948) THE FINZI-CONTINIS Vittorio De Sica (1960) was provocative, as was the exotic Josef von Sternberg (1931) City of Melbourne Arts Grants FILM CLASSIFICATIONS: 89 mins – PG 101 mins – M 91 mins – Unclassified 15 + cinema: Bernardo Bertolucci and immediately after World War II. Yet Vittorio De Sica (1970) “foreignness” she displayed in her Program and School of Media and Where a film is labelled “Unclassified Jacques Rivette. Both filmmakers the actor and director, across a A poetic tragicomedy and a 94 mins – M Based on Alberto Moravia’s novel, Hollywood films. Beloved for her Based on the legendary exploits of Communication, RMIT University. 15+” viewers are required to be 15 emerged as key figures in the 1960s, career spanning six decades, ranged knack of reinventing herself, Dietrich landmark of neorealism, De Sica’s De Sica’s final great film adapts this Cesare Zavattini-scripted tale Mata Hari, Sternberg’s extravagant years or older, unless accompanied each betraying and confirming their widely in his stylistic approaches and was a woman who very consciously most celebrated film follows a man Giorgio Bassani’s monumental of survival in war-torn Italy is one reimagining of his native Vienna VENUES by an adult. strong affinity with the history of 6:30pm concerns. He explored Commedia managed her career and fastidiously whose bicycle – his livelihood and novel about the years leading up of De Sica’s most celebrated later during World War I is a delirious February 5 – April 29 cinema and other art forms. This all’italiana and fabulist fantasy, and cultivated her image. In 1920s Berlin, Where a film is labelled “Unclassified THE SPIDER’S STRATAGEM only salvation in depressed postwar to the fascist destruction of the films. Cesira (Sophia Loren) and her but grounded mixture of irreverent The Capitol, 113 Swanston Street, program profiles two of their less made socially incisive romantic Dietrich acted on the stage and in 18+” viewers are required to be 18 Bernardo Bertolucci (1970) Rome – is taken by a thief, setting Jewish community of Ferrara. teenage daughter (Eleonora Brown) historicism and romantic melodrama. Melbourne widely seen but central works from comedies and frothy sex comedies. silent films, drawing wide appeal for years or older. 100 mins – Unclassified 15 + off a desperate chase through the Viewed through the prism of a are on the run, fleeing the Allied One of the director’s greatest works, this seminal period, opening with He worked in Los Angeles as well as the skills she developed as a chorus war-ravaged city. Filmed on location, single, privileged family, it’s an bombing raids throughout Europe. it features a piercingly nonchalant May 6 – December 16 Bertolucci’s appropriately labyrin- The son of a martyred anti-fascist Rome and his late work, such as the girl in vaudeville-style entertainment. Articles on many films in the program this iconic film’s simple construction elegiac swansong comparable with This fictional story was partly based performance by Dietrich as an ACMI, Federation Square, Melbourne thine and mercurial adaptation of a hero travels to a small Italian village elegiac triumph The Garden of the Her breakthrough performance as can be found in CTEQ Annotations and unadorned style belie an Visconti’s redolent masterpiece on the appalling events of May alluring sex worker and spy who short story by Jorge Luis Borges. searching for the truth behind his Finzi-Continis, successfully combines Lola Lola in The Blue Angel in 1930 on Film, online at aching emotional power and richly The Leopard. Winning an Academy 1944 in rural Lazio, during what betrays her country for love. This MELBOURNE Released within months of The father’s death, only to unravel a web neorealist principles with Hollywood brought her international acclaim, ANNUAL MEMBERSHIP www.sensesofcinema.com detailed moral ambiguity. Co-written Award for Best Foreign Language the Italians call the Marocchinate. brilliantly designed and costumed Conformist, The Spider’s Stratagem of myths, mysteries and lies. In this grandeur and technique. Born in a contract with Paramount and a Admission for 12 months from date with Cesare Zavattini, it was voted Film and the Golden Bear at Berlin, Loren’s extraordinary performance (by Travis Banton) espionage tale demonstrates both the full range of intimate, mesmeric film based on a Sora, near Rome, De Sica spent his collaborative partner, Josef von of purchase: the greatest film of all time in the it features Dominique Sanda (who won the Best Actress Oscar, the provides a lucid portrait of a woman Bertolucci’s work and his character- short story by Jorge Luis Borges and early years in Naples. His bank-clerk Sternberg, who would help define Full $173 / Concession $153 inaugural Sight & Sound critics poll had just completed The Conformist first ever for a non-English-language forced to use her sexuality in a istic preoccupation with the legacies exquisitely shot in vibrant shades father encouraged his entry into act- her persona across the seven (GST inclusive) and remains a powerful rumination for Bertolucci), Lino Capolicchio and movie. With Jean-Paul Belmondo. hostile patriarchal world. Co-stars of history, place and identity. The by Franco Di Giacomo and Vittorio ing and by the 1930s De Sica was a extraordinary features they made CINÉMATHÈQUE on cycles of oppression. Courtesy of Helmut Berger. 35mm print courtesy Courtesy of Cinecittà Luce. Victor McLaglen. exquisite recent restoration of Storaro, Bertolucci’s delicately matinee idol, with a debonair screen together including Dishonored Cinecittà Luce. of Cinecittà Luce. MINI MEMBERSHIP Rivette’s La religieuse profiles an elusive and deftly non-linear style persona akin to Cary Grant’s. He and The Scarlet Empress. Dietrich Admission to 3 consecutive nights extraordinary central performance grapples with themes of historical would continue to act his entire life, went on to star in further classic 8:15pm from date of purchase: by the late Anna Karina, while legacy, cultural inheritance and the often cheerfully taking on lightweight Hollywood films such as Desire, DESIRE Full $32 / Concession $27 Melbourne Cinémathèque Inc. also highlighting the Melbourne intersection of sex, violence and roles to fund his own films, while Angel, Destry Rides Again and A Frank Borzage (1936) (GST inclusive) ABN 59 987 473 440 2020 Cinémathèque’s overriding goal of ideology. With Alida Valli. 35mm print parlaying his acting talent into a Foreign Affair for key directors 95 mins – G Apt. 1104, Manchester Unity Building, profiling challenging works of film courtesy of Cinecittà Luce. directorial empathy with performers like Borzage, Lubitsch and Wilder. 220 Collins Street, history in optimal conditions. both professional and amateur. It was Although she still made intermittent Borzage’s elegant, streamlined FRIENDS OF CINÉMATHÈQUE Melbourne VIC 3000 while acting on a film in 1935 that movies such as Wilder’s Witness for romantic comedy in the style Admission for 12 months from date 8:25pm De Sica met screenwriter Cesare the Prosecution, Dietrich spent most of Lubitsch (who co-produced) of purchase: Website: LA RELIGIEUSE Zavattini, leading to a partnership of the 1950s to the 1970s touring translates the latter’s sophisticated Full $295 / Concession $265 SCREENINGS 8:25pm www.melbournecinematheque.org 8:10pm worldliness into a characteristically Jacques Rivette (1966) that defined not only both men’s 8:15pm the world as a marquee live-show (GST inclusive) 140 mins – Unclassified 15 + careers but also the neorealist MIRACLE IN MILAN MARRIAGE ITALIAN STYLE performer, harking back (but always soulful romanticism. Dietrich stars SHOESHINE Email: movement. Of De Sica’s 33 films, Vittorio De Sica (1964) renewed) to the early days of her as the vivacious, cultured jewel thief The Friends of Cinémathèque Rivette’s bold second feature is a Vittorio De Sica (1951) melbournecinematheque@ Zavattini worked on the scripts of 20 Vittorio De Sica (1946) 102 mins – M career. As a true icon of popular who cons a naïve automotive engi- membership is a way for you to controversial adaptation of Denis 97 mins – G westnet.com.au or so, a number of which appear in 87 mins – M culture, she remains a powerful neer (Gary Cooper) into smuggling support the vitality and continued Diderot’s late 18th-century novel One of the many films De Sica made One of the most famous Italian a necklace from France into Spain, this season. Working with Zavattini, In post-World War II Rome, two signifier in an ever-larger arena of operation of the Melbourne detailing the virtual incarceration of in collaboration with screenwriter comedies of all time stars the only for love to blossom despite Join our weekly reminder list: De Sica would direct four films that shoeshine boys become involved cultural discourses including per- Cinémathèque, an independently a young woman forced to enter a Cesare Zavattini, this Chaplinesque sizzling, irrepressible duo of Sophia their moral differences. As in many send a SUBSCRIBE email to our would go on to win Academy Awards in black marketeering. De Sica’s formativity, gender, ageing, celebrity organised, not-for-profit organ- convent. Initially condemned by the poetic fairytale is “posed midway Loren and Marcello Mastroianni as of Dietrich’s greatest performances, address listed above. for Best Foreign Language Film; in first masterpiece is one of the and sexuality. isation. In addition to annual Catholic church, partly for its critical between reality and fantasy” lovers entwined in a two-decade- costume, décor, gesture and the play fact, the pair’s work on Shoeshine defining works of neorealism and a membership you will receive a free and honest portrayal of various high (De Sica), fusing the social and long tempestuous relationship, of light take starring roles. Follow us on Facebook and Twitter and Bicycle Thieves received the fascinating document of a city and ACMI membership (valued at $28) officials, Rivette’s characteristically economic concerns of neorealism complete with capricious attractions, @MelbCteq for all Cinémathèque honorary awards that inaugurated country still ravaged by the scars that includes: precise, formally adventurous, with a more optimistic and fantastic illegitimate children and a fraudulent information. the category. This season presents of war. Treading a fine line between devastatingly affective and physically sensibility. Its central character, Totò wedding. De Sica’s flamboyant and many of the key works of De stark social criticism and an almost • unlimited exhibition entry palpable portrait of the sad fate of (Francesco Golisano), embodies fast-paced battle of the sexes is Sica’s landmark directorial career hauntingly poetic symbolism, James Suzanne Simonin (in an extraordinary an angelic perception of the world, filled with wry humour and laugh- • member-priced tickets for ACMI including his defining contributions Agee called it “as beautiful, moving, incarnation by Anna Karina) is also passing this onto the impoverished out-loud moments, developing into films and programs to neorealism and the peak of his and heartening a film as you are “one of the greatest prison movies community he belongs to. This “glo- a disarmingly moving work which iconic collaborations with Marcello ever likely to see”. Written by the • member-priced tickets for up to ever made” (Justin Chang). A tribute rious anomaly in De Sica’s career” offers piercing insight into the Mastroianni and Sophia Loren, great Cesare Zavattini and Sergio 4 guests to the legendary Anna Karina who (Stephen Harvey) is the director’s Neapolitan mindset. 35mm print Marriage Italian Style. Amidei, amongst others, it earned died in December 2019. “most daring” (Michael Atkinson) courtesy of Cinecittà Luce. • discounts at Cafe ACMI and the an honorary Oscar. 35mm print movie. Courtesy of Cinecittà Luce. ACMI Store courtesy of Cinecittà Luce. • exclusive invitations to ACMI cinema events, previews and screenings

MARCH 23 – APRIL 6 APRIL 13–29 MAY 6–20 CAST A DARK SHADOW: THE BIG CARNIVAL: “LIFE’S PARADE AT YOUR FINGERTIPS”: THE BEAUTIFUL SADNESS OF THE FILMS OF BILLY WILDER DOUGLAS SIRK DIRK BOGARDE

WEDNESDAY 11 MARCH WEDNESDAY 18 MARCH After beginning his theatrical career MONDAY 23 MARCH MONDAY 30 MARCH MONDAY 6 APRIL In a monumental career spanning MONDAY 13 APRIL WEDNESDAY 22 APRIL WEDNESDAY 29 APRIL WEDNESDAY 6 MAY in London’s West End, Dirk Bogarde seven decades, Billy Wilder (1906- SCREENINGS 6:30pm 6:30pm (1921-1999) became one of British 6:30pm 6:30pm 6:30pm 2002) started out as a central- 6:30pm 6:30pm 6:30pm 7:00pm ANGEL A FOREIGN AFFAIR cinema’s most significant and richly THE SERVANT THE NIGHT PORTER VICTIM European émigré who spoke no MAUVAISE GRAINE ACE IN THE HOLE THE MAJOR AND THE MINOR RETURN IMITATION OF LIFE Ernst Lubitsch (1937) Billy Wilder (1948) talented actors, his distinguished Joseph Losey (1963) Liliana Cavani (1974) Basil Dearden (1961) English and rose to become one Billy Wilder and Billy Wilder (1951) Billy Wilder (1942) TO ACMI Douglas Sirk (1959) 91 mins – Unclassified 15 + 116 mins – PG star persona balancing swooning, 116 mins – M 118 mins – R 18 + 90 mins – M of the most widely celebrated Alexandre Esway (1934) 111 mins – PG 101 mins – G 125 mins – PG matinee-idol good looks with an writer-directors of Hollywood’s 77 mins – Unclassified 15 + Dietrich plays the disaffected wife of Wilder, Richard L. Breen and array of dark, complex, turbulent The first of three collaborations Notorious upon its release, this Anchored by Bogarde’s searing golden age. The young Wilder Wilder’s acerbic, lacerating wit Coming after an incredibly success- One of the great films about a British diplomat (Herbert Marshall) Charles Brackett’s wicked and characters. Bogarde’s proclivity between Losey and celebrated writer erotic Nazisploitation film explores performance, this courageous and developed an obsession with Collaborating in Paris with a group comes to the fore in this masterful ful screenwriting career, Wilder’s Best known as the director of a maternal sacrifice and race, Sirk’s who flies to Paris for the night to visit pointed satire about a congressional towards multifaceted, sometimes Harold Pinter is an uneasy chamber the sadomasochistic relationship groundbreaking “social problem” American films while working as a of exiles, including composer Franz social satire about the practices of first American feature as director string of lavish Hollywood melodra- swansong is celebrated as a sumptu- the “salon” of a Russian duchess. investigation into GI morals portrays tortured roles can perhaps be traced drama involving the privileged Tony between a former SS officer thriller – the first time the word freelance tabloid crime reporter in Waxman and screenwriters H. G. journalism, the perils of newsworthi- includes many of his most beloved mas made for Universal Pictures in ous Hollywood melodrama nonpareil, There she meets and falls for an bombed-out Berlin as a supremely to the horrors – for example, he was (James Fox) and his newly appointed (Bogarde) and a Holocaust survivor “homosexual” was spoken in a 1920s Berlin. Following Hitler’s rise Lustig and Max Kolpé, Wilder made ness and the morality of the masses hallmarks. This audacious comedy of the 1950s, Douglas Sirk (1897–1987) as well as a characteristically searing attractive stranger (Melvyn Douglas) corrupt black marketeers’ paradise. one of the first Allied officers to manservant, Hugo (Bogarde in one (Charlotte Rampling) whose compul- British film – played a key role in to power in 1933, he found himself his directorial debut with a playful gathering at the scenes of tragic (sexual) manners features an array had a feature-film career that critique of US materialism. This who gives her the codename “Angel”. Although it stars Jean Arthur as a enter the Bergen-Belsen concen- of his most iconic roles). Adapted sive repetition of their past leads to the decriminalisation of homosex- exiled in Paris where he directed his action-comedy about a rich playboy accidents (hence the film’s alternate of iconic Golden-era Hollywood spanned almost 40 films between second adaptation of Fannie Hurst’s Regarded as a significant failure on fish-out-of-water congresswoman tration camp after it was “liberated” from Robin Maugham’s 1948 novel, them “recreating” the conditions of a uality in Britain. Bogarde stars as a first film, Mauvaise graine, and from who falls in with a ragtag gang of car title, The Big Carnival). In one of his faces including Ray Milland and, 1935 and 1959. He was a successful 1933 novel was made under the release, it has emerged as one of negotiating the moral and cultural – he witnessed during World War II, the film’s power play is permeated concentration camp. Provocative and married lawyer who risks his career there he moved to Hollywood, where thieves. Wilder explored naturalistic greatest and most intense perfor- as the street-smart city girl Susan theatre director in Weimar Germany charge of producer Ross Hunter and Lubitsch and Dietrich’s most sophis- quagmire of the emerging Cold as well as his necessarily closeted with psychological and sexual ten- perverse, with dark and evocative and marriage to investigate the he brought an outsider’s perspective on-the-fly filmmaking, including mances, Kirk Douglas plays a cynical Applegate, Ginger Rogers. Rogers’ before transferring his passion and is feted for its lush aesthetic palette, ticated, penetrating and underrated War, Dietrich steals the film as a homosexuality. With a sensitive, sion. Winning three BAFTA awards, cinematography by Alfio Contini, blackmailing of several closeted gay and a journalist’s eye for detail to the shooting on the streets of Paris with newspaper hack who, for the sake of brilliantly manufactured comedic critical eye to the silver screen, mov- magnificent costume design and works. An extraordinarily elegant and slippery, Mephisto-like chanteuse. commanding demeanour, and Losey’s landmark film garnered Cavani’s controversial film examines men – including himself – in socially dark – and darkly comic – aspects a camera mounted on a moving making front-page national news and performance is crucial to maintaining ing from Nazi Germany to the United powerhouse onscreen performance incisive portrait of the entanglements A knowing reversal of the star’s vividly expressive eyes, Bogarde’s praise for its candid treatment transgressive behaviour, love and conservative early 1960s London. of American life. Over a wildly car, and his formal techniques, resurrecting his career dragooned the daring charade at the narrative’s States in the late 1930s before work- by gospel legend Mahalia Jackson. of love and sexual attraction, it is renowned anti-fascism, it includes screen presence is both subtle and of class and sexuality as well as suffering alongside the lasting social Like Bogarde’s character, the film’s successful career, Wilder became self-conscious criminals and sight on a small-town paper, gambles with core that alternates between her ing across a range of studios and A career high for Lana Turner and also a fascinating document of old a wonderful score by Friedrich domineering. As his biographer David Douglas Slocombe’s claustrophobic and psychological effects of fascism. smooth and mannered surface only one of the most versatile filmmakers gags foreshadow the nouvelle vague a man’s life by forestalling his rescue impersonation of a 12-year-old girl independent production companies Juanita Moore, it also features Europe teetering on the cusp of war. Hollaender who also features as Huckvale writes, “If Bogarde was cinematography. With Sarah Miles. Courtesy of Cinecittà Luce. partially obscures an undercurrent of in Hollywood, switching freely from as well as his distinctive Hollywood from a collapsed mineshaft. and a grown-up woman. Co-scripted before finding a home at Universal Sandra Dee, Susan Kohner and Dietrich’s accompanist. starring, the film was simultaneously anger, paranoia and injustice. gritty potboilers and realist noirs to style. Starring Danielle Darrieux. by Charles Brackett. under the supervision of producer John Gavin. always about him.” In this regard, it romantic melodramas and comic Ross Hunter. Sirk brought to his 8:15pm can be said that many of Bogarde’s 8:10pm musicals, all defined by a sophisti- work a strong sense of drama, form DESTRY RIDES AGAIN roles well and truly belong to the cated wit and crisp, clever dialogue. and mise en scène, creating films THE DAMNED George Marshall (1939) actor, while often exploring the Themes of investigation and famous for their stylistic excesses, 97 mins – PG complex sexual, political and social Luchino Visconti (1969) deception abound in his work, but precisely detailed décor and loaded identity of his characters. This sea- 156 mins – M he rejected genre clichés in favour texts and subtexts. Celebrated by Borrowing the title but little else son includes many of the landmark of morally complicated characters the feminist and Marxist critics of from Max Brand’s novel, Marshall The first film in Visconti’s “German films of Bogarde’s mature career and stories that deeply probed the the 1970s such as Laura Mulvey and offers a comically subversive Trilogy” follows the trials and selected from a wealth of British and ironies and contradictions of modern the late, great Thomas Elsaesser, western with striking views on gun tribulations of an industrialist European arthouse cinema, profiling 8:40pm life. A lifelong reporter at heart, his and championed by queer directors violence and the place of women family who are brutally coerced 8:00pm his work with six distinguished 8:40pm DESPAIR restrained directorial style always 8:35pm such as Rainer Werner Fassbinder, in the genre, perhaps courtesy into manufacturing arms for the 9:15pm directors from Liliana Cavani and reflected the primacy of storytelling THE PRIVATE LIFE OF 8:20pm Pedro Almodóvar and Todd Haynes, of one-time communist Gertrude 8:40pm DADDY NOSTALGIE Rainer Werner Fassbinder (1978) Nazis. The film’s loose, disjointed KISS ME, STUPID Luchino Visconti to Rainer Werner and the written word to his work. SHERLOCK HOLMES his subversive command of the ALL I DESIRE Purcell sharing script duty. Dietrich I KISS YOUR HAND, MADAME Bertrand Tavernier (1990) 119 mins – M structure and provocative, operatic Billy Wilder (1964) STALAG 17 Fassbinder. It focuses, in particular, and expressionistic excesses can “If the viewer notices direction”, he Billy Wilder (1970) various forms of melodrama and Douglas Sirk (1953) plays a chanteuse caught between Robert Land (1929) 105 mins – G Bogarde plays a Russian Jewish 126 mins – PG Billy Wilder (1953) on many of his most notable roles be read stylistically as a parable of once remarked, “you have failed”. 125 mins – PG other genres remains celebrated 80 mins – PG Brian Donlevy’s ruthless boss and 66 mins – Unclassified 15 + chocolatier in 1930s Germany who 120 mins – G of the 1960s and 1970s, including A delicate three-hander is played the decline of the Weimar Republic This season spans the length and Dean Martin limns a comic today. The seething worlds of Sirk’s a new sheriff – James Stewart in plots an escape to Switzerland after Originally intended to run over three At the behest of her daughter – who In one of her final “silent films”, his indelible performances in Basil out between a charming but selfish and the ensuing nationalistic lurch breadth of Wilder’s formidable self-portrait as a lecherous singer Based on a successful Broadway creations are strangely fascinating, one of his most shrewdly guileless becoming convinced that a vagrant hours, Wilder’s melancholy, deeply has taken a lead role in the final-year Dietrich stars as a divorcee in Paris Dearden’s Victim and Joseph man (Bogarde, in his final film), his towards totalitarianism and fascism: directorial career featuring key but whose car “breaks down” in the play written by ex-inmates of endlessly entertaining and provide performances – who proves not quite (Klaus Löwitsch) is a doppelgänger affectionate and subtly queer take high-school play – a fading vaudeville luxuriating in her freedom and a Losey’s The Servant, and presents estranged daughter (Jane Birkin) and an orgy that culminates in a massa- rarely screened works including small town of Climax, Nevada. Enter Stalag 17B, Wilder’s exquisitely extraordinary portraits of particular as acquiescent as he’s supposed to whose identity he can adopt – on the “private life” and unpublished artist returns to visit the family she circle of adoring men. This divine a rare screening of his valedictory his embittered, neglected wife (Odette cre. Starring Bogarde, Ingrid Thulin the delightful farce The Major and Kim Novak in full bombshell mode, detailed and sardonic adaptation societies, character types and be. Marlene’s memorable barroom though it’s clear to all that what he’s stories of the great detective was a abandoned before pursuing her ulti- comedy is marked by elegant set film, Bertrand Tavernier’s aching Laure). The sensitive screenplay by and Helmut Berger, and featuring the Minor, the bracingly cynical closely followed by two amateur provides a fascinating insight into moments in time. This season fight with Una Merkel caused some most trying to escape from is him- passion project he had been working mately lacklustre stage career. Sirk design and the exquisite appeal of Daddy Nostalgie. the director’s former spouse, Colo Charlotte Rampling in a supporting Ace in the Hole, and the irreverent songwriters who hope Dino will the camaraderie, treachery, comedy explores the various facets and consternation in its day. self. In response to Tom Stoppard’s towards for over ten years. Brilliantly brilliantly deploys stark black-and- Parisian high life, beautifully captured Tavernier O’Hagan, may be at least role. Courtesy of Cinecittà Luce. and autumnal, The Private Life of make them rich. Raunchy, vulgar and and tragedy of prison life. Set during stages in Sirk’s screen career, from adaptation of Vladimir Nabokov’s designed by Alexandre Trauner and white compositions and sweeping by cinematographers Carl Drews and partly autobiographical; the film, like Sherlock Holmes. outrageously funny, this is Wilder’s the intense 1944 Allied bombing his early, compromised works in the absurd novel, a macabre tale laced utilising huge sets constructed at camera movements to precisely Gotthardt Wolf. While mostly silent, a Chekhov play, allows small details harshest view of the American campaign, it focuses on a group of Nazi-controlled German cinema of with melancholy humour, Fassbinder Pinewood Studios, this is Wilder’s register a vivid small-town American this was the first German film to use to take on a magnified significance. landscape since Ace in the Hole but American airmen and their attempts the mid-1930s to his occupation as delivers what The Guardian calls “an last great film and a significant influ- milieu, compelling this simple family synchronised sound technology, Composed of discrete scenes its “rancid atmosphere conceals to uncover a spy within their midsts. sojourner filmmaker elsewhere in icy, psycho-melodramatic nightmare”, ence on latter-day adaptations such melodrama toward its heavy and giving a platform to established lead like moving photos from a private the virtues of the movie’s classical A huge influence on films such as Europe, and from his exploration of exploring themes of alienation as TV’s Sherlock. Featuring one of moving climax. Featuring a char- Harry Liedtke and the titular song. album, the film’s montage, Tavernier structure… and deft comic timing” The Great Escape, it turns on the a wide variety of genres and modes and mental breakdown in oblique, Miklós Rózsa’s most richly enigmatic acteristically sharp and bold lead However, it is Dietrich who emerges observed, is dictated not by plot but (J. Hoberman). Scripted by Wilder Oscar-winning performance by of production to the extraordinary playfully provocative ways. scores it stars Robert Stephens, performance by Barbara Stanwyck. as the clear star, displaying early by emotion. and I. A. L. Diamond, it was inevitably William Holden as a self-interested, group of films upon which his con- Colin Blakely and Christopher Lee. signs of her extraordinary performa- condemned by the Catholic Legion widely distrusted recent arrival who temporary reputation rests (All That tive sensuality. 35mm print courtesy of Decency! must prove his innocence. With Heaven Allows, A Time to Love and a of Deutsche Kinemathek. Otto Preminger. Time to Die and Imitation of Life).

MAY 27–JUNE 10 JUNE 17 – JULY 1 WILDFLOWERS: DANCING, DESIRE DRIFTING STATES: THE FILMS OF AND FREEDOM IN THE FILMS OF APICHATPONG WEERASETHAKUL GILLIAN ARMSTRONG

WEDNESDAY 13 MAY MONDAY 18 MAY WEDNESDAY 20 MAY One of Australia’s most successful WEDNESDAY 27 MAY WEDNESDAY 3 JUNE WEDNESDAY 10 JUNE One of the most audacious and WEDNESDAY 17 JUNE WEDNESDAY 24 JUNE developed by Bangkok performance directors, Gillian Armstrong (1950–) idiosyncratic directors working today, artist Shaowanasai, Apichatpong’s 7:00pm 7:00pm 7:00pm has built a significant profile as a 7:00pm 7:00pm 7:00pm Apichatpong Weerasethakul (1970-) 7:00pm 7:00pm audacious and self-consciously filmmaker in her home country, in has crafted a strikingly singular and trashy parody of ’60s and ’70s Thai ALL THAT HEAVEN ALLOWS BOEFJE A TIME TO LOVE AND MY BRILLIANT CAREER HIGH TIDE STARSTRUCK TROPICAL MALADY MEKONG HOTEL addition to maintaining a career unnerving cinematic vision of Thai genre films invokes two of the era’s Douglas Sirk (1955) Douglas Sirk (1939) A TIME TO DIE internationally. Entering the industry Gillian Armstrong (1979) Gillian Armstrong (1987) Gillian Armstrong (1982) subjectivity and the contemporary Apichatpong Weerasethakul (2004) Apichatpong Weerasethakul (2012) major stars, Mitr Chaibancha and 89 mins – G 94 mins – Unclassifed 15 + Douglas Sirk (1958) in the 1970s, Armstrong was more 100 mins – G 101 mins – M 105 mins – PG world. Apichatpong’s approach 118 mins – Unclassified 15 + 57 mins – Unclassified 15 + Petchara Chaowarat. 132 mins – PG than just an important part of the to cinema is one of bold but cool This classic Sirk melodrama (later 46-year-old stage veteran Annie van Based on Miles Franklin’s semi-auto- Eight years after the trailblazing My Jo Kennedy’s debut role as an Apichatpong’s visionary follow-up to This experimental short feature Australian cinema revival – with My synthesis, the effect of which is often reworked by Fassbinder as Fear Ees plays a 12-year-old delinquent This heartbreaking adaptation of biographical 1901 novel, Armstrong’s Brilliant Career, Armstrong and Judy energetic singer who spends Blissfully Yours is one of the most shifts between fact and fiction as Brilliant Career in 1979 she was bizarre and unsettling, particularly Eats the Soul and Todd Haynes who, with his best friend and partner Erich Maria Remarque’s anti-war first feature is a milestone in Davis collaborated once more on this her days working behind a bar, remarkable and memorable films a filmmaker rehearses a movie WEDNESDAY 1 JULY the first woman to direct a 35mm for mainstream audiences infatuated as Far from Heaven), shot by the in crime Pietje, dreams of ditching novel is Sirk’s most personal film. Australian feminist cinema. A virtual emotionally rich multi-generational entertaining dreams of becoming of the 2000s, firmly positioning exploring the bonds between a feature film in Australia for over four with easy notions of realism and incomparable Russell Metty in his hometown of Rotterdam for Dedicated to the memory of the son unknown at the time, Judy Davis won drama. Davis plays a back-up singer a big star. Fully embracing the him as one of the key auteurs of daughter and her vampiric ghost 7:00pm decades, going on to contribute narrative “wholeness”. Apichatpong’s glorious Technicolor, features an the idealised shores of America. Sirk left in Germany, it traces the life a BAFTA Award for her portrayal who, when left stranded in a seaside category of Australian rock musicals contemporary cinema. The flirtatious mother. Loosely based on an earlier (OTHER)WORLDLY DESIRES: significantly to the national land- breakout film Mysterious Object at outstanding central performance Sirk’s last European production of a young soldier (John Gavin) sent of a headstrong, free-spirited girl village on the NSW coast, re-encoun- inspired by the fantasies of classical relationship between a soldier and project Apichatpong had abandoned scape with some of its most impres- Noon – a documentary inspired by THE SHORT FILMS OF by Jane Wyman as an upper-class before he embarked upon a career to the Russian Front and forced to who refuses to follow convention ters the daughter she abandoned Hollywood – with a kitschy punk another man transitions into a poetic, titled Ecstasy Garden, the film layers sive, brilliantly modern films. Spread the surrealist game of the “exquisite APICHATPONG widow torn between worldly passion in the US was a film he made in the commit atrocities before meeting and dreams of a better life amongst years earlier. Skirting clear of any twist – Armstrong’s sophomore symbolic, experiential and ghostly looping existential storytelling, Thai across the realms of commercial corpse” – aptly sets the stage for for her Thoreau-reading gardener Netherlands whilst in exile from pre- a girl while on leave. A sense of the farmlands of sun-baked rural hint of cheap sentimentality, care of feature remains one of her most journey in pursuit of a seemingly folklore and contemporary political WEERASETHUKAL and independent cinema, fiction the director’s daring yet casually (Rock Hudson) and the rigid social war Nazi Germany. In a Dickensian encroaching death and ruination Australia. Also features Sam Neill Laura Jones’ (An Angel at My Table) undervalued films. Armstrong shapeshifting tiger. The extraordinary allusions. It’s also a mesmerising Apichatpong Weerasethakul and documentary, Armstrong’s films synthetic approach to filmmaking. pressures, material comforts and critique of the Dutch class system, grants poignancy to the film’s ill- and Wendy Hughes. Preceded by penetrating script, this raw and embraces the spectacle of the use of chiaroscuro lighting transforms depiction of place and a haunting (2005–2014) exercise a consistently sensitive A multidisciplinary artist who also class expectations of both her with shades of Graham Greene’s fated love story and detailed portrait The Roof Needs Mowing Gillian affective film evocatively expresses genre, with dazzling choreography, the Thai jungle into a definitively portrait of a hotel on the edge of the 93 mins – Unclassified 15 + sympathy with women and issues works in the gallery, Apichatpong’s deeply conservative children and Brighton Rock, Sirk explores the of everyday life in Germany during Armstrong (1971) 8 mins – G. the painful reality of fractured location cinematography around cinematic world that can only be swollen Mekong River in northeast that affect them. It is this emotional cinema is notable for its attempts to This special collection of eight the stultifyingly picturesque New societal and human struggles the war. Beautifully shot in ’Scope by Armstrong’s breakthrough student relationships. Davis and co-star Sydney Harbour, and a soundtrack experienced on the big screen. 35mm Thailand on the border with Laos. and feminist trajectory, continued transcend the boundaries between experimental shorts, selected England town they live in. With between punitive, cynical and key Sirk collaborator Russell Metty, it film is a whimsical, surreal vision of Jan Adele won AFI Awards. 35mm by The Swingers and Tim Finn of print courtesy of the UCLA Film and throughout her career, that reflects the corporeal and ethereal, the from Apichatpong’s vast catalogue Agnes Moorehead. redemptive sensibilities. 35mm print features Remarque and Klaus Kinski everyday life and suburban boredom. print courtesy of the National Film Split Enz. Courtesy of the National Television Archive. 8:10pm courtesy of Eye Filmmuseum. the importance of her own role as a Both films courtesy of the National and Sound Archive, Australia. Rights Film and Sound Archive, Australia. spiritual and political, the epic and of work, coheres as a medley of in supporting roles. MYSTERIOUS OBJECT AT NOON filmmaker. However, with work that Film and Sound Archive, Australia. courtesy of Anthony I. Ginnane the mundane, the living and the audio-visual experiments, poetic Special Monday screening to be spans a number of genres, it is not © 1987 SJL Productions Pty Ltd. dead. Apichatpong’s films frequently Apichatpong Weerasethakul images and sonic ideas intertwined 9:25pm only Armstrong’s thematic insight feature states of sleep, reverie, (2000) to create the cinematic dreamscapes introduced by Tom Ryan, author 9:00pm of The Films of Douglas Sirk: APRIL, APRIL! that should be celebrated but also haunting and unconsciousness, 83 mins – Unclassified 15 + so unique to the artist. Reflecting her outstanding aesthetic skills as CERTAIN WOMEN: THREE FILMS 8:50pm meandering between languid, earthy on ritual and landscape, these films Exquisite Ironies and Magnificent Douglas Sirk (1935) Apichatpong’s debut feature, an a director – she has a sharp sense BY GILLIAN ARMSTRONG UNFOLDING FLORENCE: scenes of candid naturalism and contemplate the enlightening powers Obsessions (2019). 82 mins – Unclassified 15 + unscripted documentary-fiction of story, design, acting, music and basic tenderness and moments of art and cinema, revealing an Gillian Armstrong (1973-1980) THE MANY LIVES OF hybrid, follows the director and When a prince sends an order rhythm. As Felicity Collins writes, of quiet spectacle invoking the appreciation for mysterious objects 107 mins – Unclassified 15 + FLORENCE BROADHURST crew as they travel through the Thai to the social-climbing owner of a her work “participates fully in the oneiric and supernatural. There is and transcendental moments, where countryside asking local residents to noodle factory (Erhard Siedel) it aesthetic force-field of Australian A program of three key early Gillian Armstrong (2006) nothing “out of the ordinary” when sensations and places are privileged contribute to a collective story that 8:40pm triggers a chain reaction of mistaken naturalism and arthouse realism”. Armstrong documentaries and short 82 mins – PG a ghost or god wanders into frame over plots and certainty is eschewed 8:55pm 9:10pm is part folklore and part sci-fi. The SHOCKPROOF identities, wild misunderstandings This season of mostly celluloid fictions.The Singer and the Dancer – in Apichatpong’s cinema such for the pleasures of the unknown. Armstrong’s playful documentary- indefinable result is an enigmatic and hilarious deceptions. Sirk’s prints endeavours to pay tribute (1977) is Armstrong’s first long-form LITTLE WOMEN incidents are as mundane as eating BLISSFULLY YOURS Douglas Sirk (1949) drama about the larger-than-life assemblage of avant-garde form and rarely screened first feature, made to the extraordinary breadth and narrative and stars Ruth Cracknell as Gillian Armstrong (1994) or walking or sleeping. It would nev- Apichatpong Weerasethakul (2002) 79 mins – Unclassified 15 + and truly mercurial Sydney-based popular iconography highlighting 8:45pm at UFA, is “a deliciously funny longevity of Armstrong’s career, a lonely older woman estranged from 115 mins – G ertheless also be a mistake to see 125 mins – Unclassified 15 + artist, raconteur, socialite and – most Apichatpong’s career-long explo- UNCLE BOONMEE WHO CAN Sam Fuller and Helen Deutsch’s screwball farce” (Tom Ryan). The and includes early shorts made her daughter, finally able to find com- Apichatpong’s somnambulistic style famously – wallpaper designer Armstrong’s third American feature This remarkable first fiction ration of Thai culture and the outer script follows an idealistic parole film features musical numbers but is while still a student, famous and munion through a chance encounter as merely “personal”: his films openly RECALL HIS PAST LIVES Florence Broadhurst. Along is the most successful filmic adap- feature established Apichatpong’s limits of cinematic form. Courtesy of officer (Cornel Wilde) who falls for also musical in a poetic sense, with underseen features, and a selection in the countryside. In her student and even brazenly tackle urgent Apichatpong Weerasethakul (2010) with writer Katherine Thomson, tation of the classic 1868 novel by reputation as one of the most the Cineteca di Bologna. one of his charges (Patricia Knight), its “upstairs-downstairs” depiction of of documentaries. filmOne Hundred a Day (1973), a political questions concerning Thai 114 mins – M Armstrong fashions a visually Louisa May Alcott. With meticulous innovative filmmakers to emerge out a “femme fatale” who wants to be bourgeoisie and servants forming “a young labourer in the 1930s finds militarism and the nation’s internal flamboyant portrait of an impossible direction and magnetic perfor- of Southeast Asia. Defying stylistic “No one else is making films this a good girl – but society, and her contrapuntal household symphony” herself in a practical quandary after and border conflicts. This season 9:45pm to pin down personality, as well mances from the ensemble cast categorisation, the film tells the story exciting and challenging” (Steve past, just won’t let her. Sirk’s lurid (Katie Trumpener). discovering she is pregnant. 14’s showcases several of Apichatpong’s THE ADVENTURES OF as an account of her lurid life and including Susan Sarandon, Kirsten of a love affair between a Thai nurse Erickson). Apichatpong’s audacious melodrama teeters precariously Good 18’s Better (1980) is a sequel most celebrated works (Tropical unsolved violent death. Courtesy Dunst, and Winona Ryder as Jo, the and a Burmese illegal immigrant who IRON PUSSY winner of the 2010 Cannes Palme between noir and something less to Smokes & Lollies, a landmark Malady, Uncle Boonmee Who Can of the National Film and Sound film is a moving interpretation of a escape for a romantic picnic in the Apichatpong Weerasethakul and d’Or centres on the last few days readily classifiable. Undeservedly documentary about three young girls Recall His Past Lives), whilst also Archive, Australia. Followed by timeless classic; its subtle charms, jungle, followed by an older woman Michael Shaowanasai (2003) of the title character as he is joined neglected, its deceptively trashy, from Adelaide. Armstrong revisits incorporating his offbeat productions Gretel Gillian Armstrong (1973) intelligence and warmth remaining they know. Winner of Un Certain 90 mins – Unclassified 15 + by those he has loved and lost and tabloid surface mirrors the easy them four years later as they reach such as The Adventures of Iron 27 mins – Unclassified 15 +. This true to the story’s heart. Preceded Regard at Cannes, the film stunned contemplates his karmically charged dismissal that the heroine suffers the cusp of adulthood. Prints of all Pussy and a sample of his extensive One of contemporary cinema’s most contemporary work, based on a by Satdee Night Gillian Armstrong critics and audiences with its sensual, past lives. Moving fluidly between in the film. Charles Lawton Jr.’s three films courtesy of the National short-film work. meditative, spiritual directors also story by Hal Porter, is the last of (1973) 17 mins - Unclassified 15+. highly unusual portrayal of romantic the living and the dead, reality and meticulously framed images inspired Film and Sound Archive, Australia. produced this unabashedly queer and the three films Armstrong made at Armstrong’s observational short desire and contentment. 35mm print dream, this uncanny, serene and a series of iconic works by British outlandish lo-fi musical action-com- AFTS, which kickstarted her career. follows the mundane life of a man courtesy of The National Film and truly borderless work is also the pop artist Richard Hamilton. edy. Pussy – a kickboxing drag Courtesy of AFTRS. who gets lost in the rush of Sydney’s Sound Archive, Australia. final instalment in Apichatpong’s superheroine and rogue pro-sex-work Saturday nightlife. Prints of both films “Primitive” art project exploring the advocate – is assigned a deep courtesy of the National Film and Isan region in northeast Thailand. cover special mission to take down Sound Archive, Australia. One of the key films of the 2010s. a drug ring. Based on characters

THE MELBOURNE CINÉMATHÈQUE IS GRATEFUL TO: PRESENTED WITH ACMI Love. ACMI Collections, Park Circus, Cineteca di Bologna, Association of Moving Image Archivists Listserv, Film Programmers Listserv, Umbrella Entertainment, MK2 Films, StudioCanal Australia, The Czech and Slovak Film Festival of Australia, SUPPORTED BY Live. Slovak Film Institute, Národní filmový archiv (National Film Archive in Prague), British Film Institute and the British Film Institute Archive, NBC Universal Studio Pictures, UCLA Film & Television Archive, Roadshow Films, Shochiku Company Learn. Ltd, Friedrich Wilhelm Murnau Stiftung, Warner Bros., Cinecittà Luce, Madman Entertainment, Movietime/Compass Film, Arthur Cohn, Surf Film, Orium Sa., Deutsche Kinemathek, Tamasa Distribution, Bavaria Media International, D-facto Italian, Motion, JORR, Eye Filmmuseum, Tom Ryan, Australian Film Television and Radio School, Icon Film Distribution, FG Films, Gillian Armstrong, Palm Beach Pictures, beyond your expectations. David Elfick, Kick the Machine, Apichatpong Weerasethakul, The Match Factory, GMM Grammy, White Light Bangkok, Transmission Films, World Film Foundation, National Film & Video Lending Service Canberra, National Film Archive of Japan, iicmelbourne.esteri.it 233 Domain Rd - South Yarra TF1 Droits Audiovisuels, Société Nouvelle de Cinématographie, Cinexport, SND Films, Comité Cocteau, Barbara Hammer Estate, Canyon Cinema Foundation, Electronic Arts Intermix, MISR International Films, Gosfilmofond, Mosfilm Cinema Concern, DEFA-Filmverleih, Hungarian National Film Archive, Lithuanian Film Centre, Zagreb Film, David Donaldson, Amanda Holmes-Tzafir, Elisabetta Ferrari.

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Content Input (ACMI website): Oenone Oxlade SENSESOFCINEMA .COM WEDNESDAY 8 JULY JULY 15–29 SEPTEMBER 2–16 AT HOME IN THE WORLD: HIROSHI SHIMIZU: JEAN COCTEAU: CECIL HOLMES, FORGOTTEN MASTER THE POETRY OF DREAMS ACTIVIST FILMMAKER

Although born in New Zealand, 7:00pm Making his directorial debut in WEDNESDAY 15 JULY WEDNESDAY 22 JULY WEDNESDAY 29 JULY A truly diverse, influential and mercu- WEDNESDAY 2 SEPTEMBER Cecil Holmes (1921–1994) is THREE IN ONE 1924 at the age of 21, Hiroshi rial artist, Jean Cocteau (1889-1963) one of the most significant and Shimizu (1903–1966) went on to 7:00pm 9:35pm 7:00pm 7:00pm 9:40pm approached everything he made with 7:00pm ambitious filmmakers to work in Cecil Holmes (1957) 89 mins – G make over 160 films in a career ORNAMENTAL HAIRPIN FORGET LOVE FOR NOW ECLIPSE MR. THANK YOU A WOMAN CRYING IN SPRING the vision of a poet. Exploring the ORPHÉE Australia during the 1950s, ’60s contemporaneous with widely porous boundaries between fairytale, and ’70s. A dedicated leftist, his Hiroshi Shimizu (1941) Hiroshi Shimizu (1937) Hiroshi Shimizu (1934) Hiroshi Shimizu (1936) Hiroshi Shimizu (1933) Jean Cocteau (1950) Holmes’ opus is one of the most acknowledged masters Yasujiro Ozu 70 mins – Unclassified 15 + 73 mins – Unclassified 15 + 100 mins – Unclassified 15 + 75 mins – Unclassified 15 + 96 mins – Unclassified 15 + memory, dream, everyday life, death, 95 mins – PG work consistently demonstrated a significant films made in Australia and Kenji Mizoguchi, in whose critical and masculine, feminine and queer humanist commitment to the socially before the 1970s revival. A shadows he often, undeservedly, Ozu regular Chishu Ryu plays a Drawing upon recurring themes Although Shimizu was dubbed a The problems of Depression-era Shimizu’s first sound film is an sexuality, Cocteau’s pioneering lyr- This intensely personal reworking disenfranchised, ranging from the profoundly independent work that resided. The warmth and lightness soldier who stabs his foot on a that mark much of his work, Shimizu “genius” by Ozu and Mizoguchi, and Japan are canvassed through a day emotionally powerful melodrama ical and avant-garde work spanned of the Orpheus legend is probably underlying capitalist conditions robustly demonstrates Holmes’ of his work has always been highly hairpin at a rural spa before finding again focuses his lens on the lives is now widely celebrated for his in the life of a bus driver – nicknamed about the love between an itinerant many fields including writing, poetry, Cocteau’s most influential cinematic that force decent citizens into filmmaking capabilities as well as praised but, as Alexander Jacoby hesitant romance with its owner (the of unhappy children and women, portraits of the lives of disaffected “Mr. Thank You” for his exceedingly woman and a miner who meet in a painting, design, criticism, acting achievement. He uses reverse bushranging and stealing to the his qualities as a cinephile and notes, he shares with Jean Renoir legendary Kinuyo Tanaka). Shimizu’s particularly mothers, burdened by children and women, he was also polite manner – and the passengers rugged, far-flung region of Japan. and filmmaking. He was a polymath slow-motion and negative images social and economic conditions political artist (Henry Lawson and the double-edged nature of such poignant, ineffably light romance societal restrictions, prejudices and an incisive and critical chronicler he collects on an extended route One of the director’s darkest and who regarded beauty as the ultimate to suggest the Underworld, while confronting Indigenous communities Frank Hardy are both sources), it plaudits: “Those few critics who have includes a generous ensemble of straitened economic circumstances. of his times. Tracing the paths of from rural Izu to inner-city Tokyo. most revelatory works, the film goal to which all of his work should the ordinary domestic life of Mr and in contemporary Australia (the latter reframes the common theme of written about Shimizu’s work tend spa residents watching on, willing In a film reminiscent of specific Ozu two villagers as they separate in Adapted from Nobel Prize-winning evinces Shimizu’s affinity with those strive. Mixing personal with classical Mrs Orpheus is filmed realistically, works often made in collaboration “mateship” within explicitly leftist to make him sound less interesting the lead couple to overcome their movies of the 1930s like I Was Born, their hometown and move to Tokyo novelist Yasunari Kawabata’s (A Page on society’s margins. Partly shot mythology, while openly exploring his elaborating the theme of the poet with his wife, anthropologist and contexts and provides an indelible than he is.” Chris Fujiwara notes reticence. Not well-received by a But… Shimizu explores the tragic independently, Shimizu’s penetrating of Madness) story, this precursor to on location against the beautiful own homosexuality, he “set Greek caught between real and imaginary activist Sandra Le Brun Holmes). portrait of Australia from the 1890s several key recurrent elements highly imperialist country about to implications of a dignified single film is a chronicle of traditional Japan Italian neorealism was entirely shot snowy landscapes of Hokkaido, it tragedy to the rhythm of our times”. worlds. This haunting and visually MELBOURNE In the 1950s, Holmes briefly moved to the 1950s. Preceded by Words in the director’s work, including a enter World War II, when militaristic mother forced to become a bar host- and its displacement by modernity. on location and largely improvised. features an innovative use of audio: Born to a prominent family in a small striking film is amongst the most from his background in documentary for Freedom Cecil Holmes (1956) resistance to plotting, anarchy and propaganda was the literal order ess and the devastating impact this Although not openly critical of the Featuring Michiko Kuwano and overheard voices provide a chorus to town outside Paris, he became asso- remarkable attempts to fuse poetry to feature-film production, but all 19 mins – Unclassified 15 +. Holmes’ unpredictability, “the expressive of the day, Shimizu’s understated has on the life of her son. 35mm print rise of militarism it paints a bitter- Ken Uehara as well as wonderful the romantic theme, while folk songs ciated with writers such as Proust, and cinema. Stars Jean Marais, of his work shares a deep concern fugue of Henry Lawson, union chron- possibilities of camera movement” humanism, elegant tracking shots courtesy of the Japan Foundation. sweet vision of lost values. 35mm cinematography by Isamu Aoki. echo throughout, taking on a deeper Apollinaire and Gide when in his early María Casares, François Périer and for social justice, place and the icle and folk-tale provides a history of and the subversion of the couple. and playful optimism marked a print courtesy of the National Film 35mm print courtesy of the National significance with each repetition. 20s. His integration into the fervent Juliette Gréco. CINÉMATHÈQUE precarious fate of displaced and the Australian workers press. Prints Shimizu’s world is one where the very particular kind of rebellion. Archive of Japan. Film Archive of Japan. 35mm print courtesy of the National artistic social scene in Paris in the dispossessed peoples in the of both films courtesy of the National actions of the individual character 35mm print courtesy of the Japan Film Archive of Japan. 1910s and 1920s led Cocteau to modern world. Although he is often Film and Sound Archive, Australia. defines them. He is also often Foundation. complete a varied slate of work, such regarded as a maverick director who overtly condemnatory of restrictive as a ballet with designs by Picasso struggled to make films, Holmes 9:00pm social structures and institutional and music by Satie (Parade in 1917), consistently produced challenging norms. His films repeatedly focus and to undertake many creative CAPTAIN THUNDERBOLT 2020 work for a variety of governmental, on those excluded from mainstream collaborations with artists such as corporate and philanthropic organ- AND OTHER TALES society – “fallen women”, itinerant his lover, actor Jean Marais, Jean- isations, as well as at the behest of Cecil Holmes (1948-1968) workers, those with disabilities or Pierre Melville, Stravinsky, Colette such individuals as Australian leftist 99 mins – Unclassified 15 + children. But, despite his concern and many others. Despite his work author Frank Hardy. with serious subject matter, Shimizu across many forms and mediums, This program covers a range of always retained an open approach to Cocteau’s major artistic contribution 8:45pm SCREENINGS Holmes’ work in documentary and filmmaking. David Bordwell describes 8:50pm 8:25pm was to the cinema. Directing his first fiction, moving from his pioneering LES PARENTS TERRIBLES how he wrote only vague screen- film at age of 40, Le sang d’un poète, films for the New Zealand National 8:20pm NOTES OF AN ITINERANT A HERO OF TOKYO Jean Cocteau (1948) plays, making up new dialogue as Cocteau approached the movie Film Unit such as The Coaster (1948) PERFORMER Hiroshi Shimizu (1935) 105 mins – Unclassified 15 + required, and “rarely budged from his THE MASSEURS AND A WOMAN screen as “the true mirror reflecting to his groundbreaking and socially 63 mins – Unclassified 15 + chair on set, even when the camera Hiroshi Shimizu (1938) Hiroshi Shimizu (1941) the flesh and blood of [his] dreams”. Described by Time Out as a committed work with Indigenous was moving”. This season of rarely 66 mins – Unclassified 15 + 98 mins – Unclassified 15 + Shimizu’s final silent film is a deeply This season celebrates Cocteau’s “gut-wrenching tale of emotional communities, The Islanders (1968). screened 35mm prints, focusing ironic and profoundly distilled treatise truly singular body of work, incor- rivalries” and by The Guardian Its centrepiece is his bold and Two wisecracking blind masseurs, One of Shimizu’s least political on films from the golden period of on the poor status of women in porating all of his key films including as an “Oedipal farce”, Cocteau’s visually adventurous first feature, a mysterious woman on the run, a works, tempered by the restricted 1930s Japanese cinema, reveals a 1930s Japan. Abandoned by her his extraordinary collaboration with claustrophobic adaptation of his Captain Thunderbolt (1953), an travelling salesman and his nephew filmmaking conditions on the cusp filmmaker of generosity and casual corrupt second husband, Haruko Melville (Les enfants terribles), his own play invites a wide spectrum expansive and exciting account of are brought together by happen- of World War II, tells the story of a precision. Working with a roster of (Mitsuko Yoshikawa) becomes a gorgeous adaptation of La belle et of responses. Five characters, two the social, political and economic stance at a remote mountain resort travelling performer (Yaeko Mizutani) Shochiku’s finest contracted actors, hostess in order to support her la bête, and his hugely influential sets, astonishing close-ups and conditions that lead to bushranging. in Shimizu’s disarmingly funny film. who seeks to reinvent herself by including Kinuyo Tanaka, Shin Saburi three children, a decision that has a “Orphic trilogy”. metronomically precise editing Only surviving in its edited 16mm As a love triangle develops – and a moving in with the family of a kindly and Chishu Ryu, Shimizu created a profound impact on their subsequent highlight the story of a young man TV version, it provides an urgent spate of bath-house thefts is inves- tea merchant. Demonstrating body of work that deserves to be lives. Shimizu’s subversive critique of (Jean Marais) who finds himself reminder of the crucial role of tigated – this elegantly meandering Shimizu’s extraordinary technical regarded as among the best cinema Japanese militarism and ingrained battling both his parents (Yvonne de the archive. Prints courtesy of the exploration of love and loneliness skill and relentless innovation, this of its era. attitudes to class, tradition and Bray and Marcel André), each for National Film and Sound Archive, weaves in and out of interconnected minimalist drama touches on social sexuality provides an incisive portrait vastly different reasons, when he Australia and ACMI Collections. stories, offering shifting perspectives issues during the Meiji Era such as of an increasingly conservative announces that he’s fallen in love. on human connection in pre-war hardships faced by women and class society. 35mm print courtesy of the Gabrielle Dorziat and Josette Day To be introduced by film scholar and Japan. 35mm print courtesy of the differences, ending in an ambiguous National Film Archive of Japan. round out the ensemble of height- Captain Thunderbolt devotee David National Film Archive of Japan. resolution of the romantic couple. ened, stylised performances. Donaldson, inaugural director of the 35mm print courtesy of the National Film Archive of Japan. Sydney Film Festival.

SEPTEMBER 23–30 OCTOBER 7–14 OCTOBER 21 – NOVEMBER 4 QUEERING THE ARCHIVE: GALLOWS BACCHANALIAS, FRACTIOUS REACHING BEYOND THE FRAME: THE CINEMA OF BARBARA HAMMER FAIRYTALES AND THE RULE OF THREE: THE POETIC CINEMA OF THE CINEMA OF JURAJ JAKUBISKO ABBAS KIAROSTAMI

WEDNESDAY 9 SEPTEMBER WEDNESDAY 16 SEPTEMBER Over a career spanning 50 years and WEDNESDAY 23 SEPTEMBER 9:35pm 8:05pm The irrepressible Juraj Jakubisko WEDNESDAY 7 OCTOBER WEDNESDAY 14 OCTOBER When essayist and critic Phillip WEDNESDAY 21 OCTOBER more than 80 moving-image works, (1938-) represents the baroque Lopate claimed that “we are living in HISTORY LESSONS THE FEMALE CLOSET 7:00pm 7:00pm American filmmaker and visual 7:00pm vanguard of the Czechoslovak 7:00pm 7:00pm the Age of Kiarostami, as once we 7:00pm artist Barbara Hammer (1939–2019) Barbara Hammer (2000) Barbara Hammer (1998) New Wave’s Slovak contingent. did in the Age of Godard”, he high- LA BELLE ET LA BÊTE LE TESTAMENT D’ORPHÉE NITRATE KISSES BIRDS, ORPHANS AND FOOLS PERINBABA WHERE IS THE FRIEND’S initiated a new kind of cinema made 66 mins – Unclassified 15 + 59 mins – Unclassified 15 + After assisting on early works by lighted both the crucial emergence Jean Cocteau (1946) Jean Cocteau (1960) from a distinctively female and Barbara Hammer (1992) fellow students Jaromil Jireš and Juraj Jakubisko (1969) Juraj Jakubisko (1985) onto the world stage of Iranian HOUSE? 93 mins – PG 79 mins – PG 67 mins – R 18 + Hammer’s final instalment in the A fascinating collage of archival 78 mins – Unclassified 15 + 89 mins – Unclassified 15 + lesbian perspective, challenging “invisible histories” trilogy surveys photographs, home movies and Věra Chytilová at Prague’s FAMU cinema and the specific qualities of Abbas Kiarostami (1987) This ageless gothic fairytale comes Mixing life and death, present and the assumptions of mainstream Hammer’s first feature recontex- and disputes the negative historical interviews exploring the lesbian film school, Jakubisko soon made Shot under highly straitened This beautiful adaptation of a Kiarostami’s contemplative, gently 87 mins – Unclassified 15 + culture and opening a discourse for his own mark with a succession questioning, porously self-reflexive fully to life in Cocteau’s magically future, nightmare and dream, the tualises material from the 1933 depiction of lesbians by the medical, histories of women artists across the circumstances, and featuring Brothers Grimm fairytale has The first instalment of Kiarostami’s marginalised groups in society. Her of acclaimed, flamboyant and and overwhelmingly poetic work. surreal romantic spectacle. With a third part of Cocteau’s “Orphic landmark queer film Lot in Sodom educational, religious and legal 20th century: Victorian photographer astonishing cinematography from become a staple of Slovak deeply humanist “Koker trilogy” is personal and experimental films provocative films which saw him Abbas Kiarostami (1940-2016) began dreamlike tone, complete with fan- trilogy” is a summation of the within an optically manipulated establishments, alongside pornogra- Alice Austen, German Dada collagist Igor Luther and a score by the great Christmases, notwithstanding its a touching parable and revealing sought to inspire social change dubbed “the Slovak Fellini” at the making films at the start of the 1970s tastical inventions, cinematic trickery, artist’s works and preoccupations. fretwork of associative montage also phy and the media. The juxtaposition Hannah Höch, and contemporary Zdeněk Liška, Jakubisko’s third plentiful adult content, horrific portrait of rural Iranian society. and make largely invisible bodies, Venice Film Festival of 1968, but for the Institute for the Intellectual and smoke and mirrors, Cocteau’s Cocteau as The Poet wanders appropriating excerpts from 1930s of archival documentary footage painter Nicole Eisenman. A careful feature is a mosaic-like parable set elements and that it was only made Kiarostami depicts the adventures of images and histories seen. After which also earnt him the sustained Development of Children and Young opus is one of the true landmarks weightlessly through a dream German fiction films and of four with early lesbian cinema and examination of the museum as in an undefined space and time. because its director was forbidden the everyday from the perspective coming out as lesbian in the 1970s, wrath of his nation’s censors, with Adults in Tehran after working in of French cinema. The beautifully landscape peopled by his friends, couples making love. This palimpsest cabaret songs provides an audacious “closet”, and a thoughtful lesson Nonetheless, its crazy world without from producing more personal of a schoolboy who, zigzagging Hammer took off on a motorcycle three of his four 1960s features graphic design, book illustration and detailed costume designs, Henri collaborators, characters and images of representations of homosexual life reaffirmation of queer subversion on the importance of creating and ideals, and filled with violence, projects. Giulietta Masina shines through two villages to return his with a Super 8 camera and created shelved until after 1989’s Velvet TV commercials. From his very first Alekan’s extraordinarily opulent and from his films, including María found in the margins and outtakes and appropriation. Print courtesy archiving feminist artwork. Preceded cynicism and hopelessness, surely as Perinbaba, aka “Lady Winter”, friend’s homework book, is waylaid the groundbreaking Dyketactics, Revolution, including the extraordi- short films and features such as fluid cinematography, and Georges Casares, Jean Marais, Pablo Picasso, of cinema history powerfully of the National Film and Sound by Sisters! Barbara Hammer references Czechoslovakia after the “Feather Fairy”, in this tale of by the demands of adults. A highly one of the first films to show nary Birds, Orphans and Fools that The Experience and The Traveller Auric’s memorable score are coupled Françoise Sagan, Charles Aznavour, confronts heteronormative images Archive, Australia. (1973) 8 mins – Unclassified 15 +. August 1968. Digital restoration. a young boy whose life she saved sympathetic, poetic and profound uncompromising lesbian sexuality. opens this season. His similarly he developed a highly identifiable with highly influential effects (René Jean-Pierre Léaud, Brigitte Bardot, of sexual and erotic love. Preceded A vital landmark in feminist and Digital print courtesy of the Slovak who wishes to leave her enchanted film about the meaning of responsi- Hammer proceeded to experiment exuberant contemporary Elo Havetta style and set of philosophical and Clément was technical advisor). Jean Edouard Dermithe and Yul Brynner. by Endangered Barbara Hammer lesbian filmmaking documenting, Film Institute. Preceded by The Red domain for the real world, despite bility and the lives of ordinary people with a variety of avant-garde media WEDNESDAY SEPTEMBER 30 said: “Jakubisko was the first to materialist concerns focusing on the Marais, Cocteau’s long-time partner (1988) 18 mins – Unclassified amongst other things, the first Cross Drummer Juraj Jakubisko the latter’s many terrors. Jakubisko presented in neorealist style with a and multi-modal styles to decon- show that folklore is something more relationship between art and every- and muse, stars as “The Beast”. 8:30pm 18 +. A materialist reflection on the Women’s International Day march in (1977) 13 mins – Unclassified 15 +. steeped this cult classic in Slavic twist of magic realism. struct heteronormative cinema and threatened tradition of experimental 7:00pm San Francisco. than songs and dances – a living This hallucinatory short promotional folklore; the breathtaking cine- day life, the importance of education LE SANG D’UN POÈTE create unique works on a variety filmmaking. Prints of both films PROJECTING LIGHT AND tradition.” Moreover, his ludic, carni- film for the Czechoslovak Red Cross matography is by Dodo Šimončič. and pedagogy to the foundations Jean Cocteau (1930) of topics that are unapologetically valesque cinema – a clear influence of culture and society, the invisible courtesy of the National Film and BENDING TIME: BARBARA is amongst its director’s most radical Digital print courtesy of the Slovak 55 mins – Unclassified 15 + honest, undeniably political and Sound Archive, Australia. on latter-day FAMU alumnus Emir works. 35mm print courtesy of the Film Institute. barrier between documentary and beautifully life-affirming. As So Mayer HAMMER IN THE 1980s Kusturica – is also steeped in magic fiction, and the world beyond the “Every poem is a coat of arms. It Slovak Film Institute. claims, “Hammer defined lesbian Barbara Hammer (1982-1983) realism, symbolism and intertextu- frame. Kiarostami worked consist- must be deciphered.” So begins cinema almost single-handed…. Her 55 mins – Unclassified 15 + ality and has habitually been highly ently throughout the 1970s and Cocteau’s decadent and sensual generosity of spirit, intellect and engaged with the often-precarious 1980s, on either side of the Islamic first feature, a subversively autobi- This program of two of Hammer’s embodiment lives on in the films she times in which it was made. This Revolution, and his films came to 8:40pm ographical work that mines his own most celebrated and searching films made that changed the landscape season of imported prints principally international prominence with the history as an accomplished artist to of the 1980s includes Audience HOMEWORK 8:45pm not only of cinema, but of our queer focuses on the director’s key short unfolding release of the quietly contemplate the sometimes-tortured (1982), a diary of audience reactions Abbas Kiarostami (1989) lives and histories.” This tribute and feature-length works from the phenomenal “Koker trilogy” – Where LES ENFANTS TERRIBLES relationship between creator and to retrospectives of Hammer’s work 9:25pm 74 mins – Unclassified 15 + includes a broad range of Hammer’s 1960s to the close of the 1980s, is the Friend’s House?, And Life Goes Jean-Pierre Melville (1950) creation. Cocteau conjures indelible in San Francisco, London, Toronto CORPOREAL HISTORY: 8.40pm eclectic shorts and features from which typically position their lead On, Through the Olive Trees – an This formally rigorous documentary 105 mins – Unclassified 15 + images of life, death and dreams and Montreal; and Bent Time (1983), across her career dealing with THE LATE WORKS OF BARBARA characters in manic, triangular 8:45pm THE PRIME OF LIFE extraordinary run of movies focusing is mostly comprised of footage of in this free-associative, sensorial 8:35pm a work inspired by the scientific A teenage brother (Edouard diverse themes including the HAMMER relationships amid trying times, Juraj Jakubisko (1967) on a small rural community recover- Iranian primary-school students and homoerotic dance, establishing SUPERDYKES! THE EARLY theory that time can bend like light SITTING ON A BRANCH, Dermithe) and sister’s (Nicole lesbian experience (Dyketactics, but also includes the sumptuous 95 mins – Unclassified 15 + ing from the effects of a devastating talking about their homework, lives in the vividly surrealist sensibility that curving at the universe’s outer edges. Barbara Hammer (1991-2011) ENJOYING MYSELF Stéphane) unhealthy obsession Superdyke, Women I Love), lesbian FILMS OF BARBARA HAMMER fairytale Perinbaba starring Giulietta earthquake, each “internalising” the school and families. With sensitivity defines the director’s later films. Hammer uses an extreme wide-angle 69 mins – Unclassified 15 + Abetted by the brilliant Igor Luther’s with one another leads, inevitably, histories (Nitrate Kisses, The Female Barbara Hammer (1974-1976) Masina, emphasising Jakubisko’s Juraj Jakubisko (1989) fictional and documentary worlds and good humour, Kiarostami draws lens and “one frame of film per grainy, overexposed black-and-white to suicide. Fatalistic and extraordi- Closet, History Lessons, Audience), 49 mins – Unclassified 15 + A trio of films that reflect on and great affinity with Federico Fellini, 110 mins – Unclassified 15 + of its predecessor. This specially out, in stealthily heartbreaking foot of physical space” to capture revise concepts around death and cinematography, Jakubisko’s inven- narily powerful, Cocteau’s beautiful, 9:35pm menstruation (Menses), concepts on- and off-screen. Jakubisko’s dreamlike, tragicomic imported season focuses on the fashion, the challenges imposed by This collection of four short works high-energy mystical and scientific cultural history. Vital Signs (1991) is tive, existential, semi-autobiograph- otherworldly, profoundly literary JEAN COCTEAU: of time and space (Bent Time, Maya final film to be made under the films Kiarostami made prior to his war and politics on children. made by Hammer in the mid-1970s sites across the United States. an ethereal, experimental refraction ical debut feature “signaled not only script must have seemed virtually Deren’s Sink), endangered species failing communist regime (albeit Palme d’Or winning opus Taste of AUTOPORTRAIT D’UN INCONNU centres on the form and experiences of a danse macabre. Maya Deren’s the birth of an exceptional talent, but unfilmable, but Melville’s precise and and artistic forms (Endangered), and a West German co-production) Cherry, profiling a range of rarely Edgardo Cozarinsky (1983) of the female body, notably address- Sink (2011) pays tribute to Deren’s also the birth of a Slovak style” (Mira 10:05pm poetic cinematic style manages to ageing and death (A Horse is Not a dared to explicitly tackle – and, seen but extraordinary early to 66 mins – Unclassified 15 + ing topics like queer sexuality foundational work, immersed in the and Antonín J. Liehm). Two brothers A WEDDING SUIT retain its claustrophobic spirit. Shot Metaphor, Vital Signs). moreover, burlesque – the Stalinist mid-career features and documen- and menstruation. Drawing on an spaces in which it was created. A in their early 30s establish, through mostly at the famed Théâtre Pigalle Cozarinsky’s first-person documen- era. Aesthetically and thematically taries that have only recently been Abbas Kiarostami (1976) avant-garde film process, Hammer Horse is Not a Metaphor (2008) is their absurdist games, that life is by Henri Decaë, this is a key work tary shows Cocteau recounting his echoing Birds, Orphans and Fools restored, and providing further 54 mins – Unclassified 15 + gives expression to a lesbian a powerful, rhythmic and meditative made up of “love, foolishness and of postwar French cinema. 35mm artistic life in post-World War I Paris from 20 years prior, and with evidence of the director’s vaunted aesthetic and defines not just her response to Hammer’s cancer diag- death”. Digital print courtesy of the A tailor’s apprentice is pressured by print courtesy of the British Film and highlights his encounters with glorious cinematography from Laco reputation as one of the key figures own career, but a movement. These nosis and chemotherapy treatment. Slovak Film Institute. Preceded by two friends to “borrow” the bespoke Institute Archive. such figures as Diaghilev, Nijinsky, Kraus, it concerns another trio of of post-World War II cinema. works, including Superdyke (1975) The two later films received the Waiting for Godot Juraj Jakubisko suit ordered by a rich lady for her Picasso, Jean Renoir and Stravinsky. outsiders who unite to establish an and Women I Love (1976), explore Teddy Award for Best Short Film at (1966) 29 mins – Unclassified son. Kiarostami’s adroitly comic and An evocative compilation of material unorthodox household and keep at hidden lesbian histories, the politics the Berlinale. 15 +. Wholly set around a party, suspenseful featurette grounds its featuring moments from various of being gay and the experience of bay the world’s madness – here, in Jakubisko’s Godardian graduation hijinks in a cogent, neorealist-tinged Cocteau films and collaborations being a woman. Print of Dyketactics the chaotic immediate aftermath film is supremely evocative of its observation of class divisions in such as Les enfants terribles. Print courtesy of the National Film and of World War II, in an abandoned time. Digital print courtesy of the pre-Revolutionary Iran and the courtesy of ACMI Collections. Sound Archive, Australia. Jewish bakery. Digital print courtesy National Film Archive in Prague. adolescent dream of adulthood. of the Slovak Film Institute.

NOVEMBER 11–25 DECEMBER 2–16 BORSCHT, SAUERKRAUT, GOULASH AND THE LAND IS OURS: YOUSSEF CHAHINE LEMONADE: AN INTRODUCTION TO OSTERNS AND RED WESTERNS

WEDNESDAY 28 OCTOBER WEDNESDAY 4 NOVEMBER It may come as a surprise to many, WEDNESDAY 11 NOVEMBER WEDNESDAY 18 NOVEMBER WEDNESDAY 25 NOVEMBER Born into a multilingual family in WEDNESDAY 2 DECEMBER WEDNESDAY 9 DECEMBER WEDNESDAY 16 DECEMBER but that most quintessentially cosmopolitan Alexandria, Egypt, 7:00pm 10:05pm 7:00pm American of genres, the western, 7:00pm 7:00pm 7:00pm Youssef Chahine (1926-2008) 7:00pm 7:00pm 7:00pm 9:40pm THROUGH THE OLIVE TREES FELLOW CITIZEN FIRST GRADERS was enormously popular behind the AT HOME AMONG STRANGERS NOBODY WANTED TO DIE A MAN FROM THE BOULEVARD quickly emerged as one of the key CAIRO STATION ALEXANDRIA… WHY? SALADIN THE TRAVELLER Abbas Kiarostami (1994) Abbas Kiarostami (1983) Abbas Kiarostami (1985) Iron Curtain. Of course it was seldom Nikita Mikhalkov (1974) Vytautas Žalakevicius (1966) figures of Arab cinema, a courageous Youssef Chahine (1958) Youssef Chahine (1979) Youssef Chahine (1963) Abbas Kiarostami (1974) DES CAPUCINES 103 mins – Unclassified 15 + 53 mins – Unclassified 15 + 82 mins – Unclassified 15 + possible for Eastern Bloc audiences 93 mins – Unclassified 15 + 107 mins – Unclassified 15 + nationalist and humanist whose 74 mins – Unclassified 15 + 133 mins – Unclassified 15 + 186 mins – Unclassified 15 + 73 mins – Unclassified 15 + to see films produced in Hollywood. Alla Surikova (1987) work ranges across the musical, From the moment it opens with the Kiarostami’s first long-form work Kiarostami’s first feature-length No matter; even though they deemed This legendary, action-packed, This scorching, Lithuanian village-set 99 mins – Unclassified 15 + melodrama, comedy, the historical The film that established Chahine’s The first film in Chahine’s “Alexandria Chahine’s epic depiction of the Kiarostami’s first feature is the most “director” auditioning young women to be produced after the Islamic documentary presents a devilishly the Hollywood western decadent in Brezhnev-era ostern, set just after black-and-white CinemaScope epic and highly cinematic forms international reputation. This unbri- quartet” follows a young aspiring titular 12th-century Sultan begins widely seen and highly regarded of This remarkable, extremely popular, for the film we are about to see, Revolution is a characteristically amusing series of candid interviews exemplifying and propagating the the Russian Civil War, represents revenge drama – the first Soviet of autobiography. Educated in dled psychosexual character study director enamoured with Hollywood with his armies’ conquest of his early films, setting the thematic late-communist era red western Kiarostami’s breakthrough third entry intense documentary portrait of a with hot-headed, rebellious and tardy United States’ foundational frontier Mikhalkov’s bravura feature-film film about the post-WWII Lithuanian theatre and TV in California, Chahine – set entirely in and around Cairo’s and privately evaluating his Jerusalem to counter the persecu- and stylistic template that would is a rarity for being one of the few in the “Koker trilogy” establishes a traffic cop attempting to restrict first graders who’ve been sent to the myths, socialist states took to the directorial debut; he also enjoys partisan resistance movement – returned to Egypt to work in publicity central train station – was so shock- current identity and circumstances. tion of Muslim pilgrims. The ensuing preoccupy him for much of his entries in the genre directed by a magically porous border between access to drivers in the centre of principal’s office for bad behaviour. production of westerns with great a starring role. Pavel Lebeshev’s famously smuggled in a scathing for 20th Century-Fox before starting ing it was banned in Egypt for two Examining Egypt’s political and Third Crusade pits his forces against career. Following a mercenary young woman. Surikova’s film is also an documentary and fiction, real life Tehran. Using a telephoto lens, and The film balances the interrogation relish. Two subgeneric traditions cinematography alternates colour critique of the Soviet occupation his directorial career as a 23-year-old decades. The director stars as a shy, social tensions, as well as the invading European Christians led by protagonist who is determined to unusually self-reflexive affair, and an and cinema. Focusing on the filming depicting the notoriously hectic of the students with an empathetic comprise the extraordinary corpus sequences with black and white, of the small Baltic state through in 1950. With the fall of the Egyptian disabled newspaper vendor whose country’s contradictory relationship Richard the Lionheart. Often seen as journey to Tehran to see a football uproarious comedy, deconstructing of a few scenes from And Life Goes rhythm of life in Tehran as well as the insight into the role of the headmas- that entailed, inevitably granted while Eduard Artemyev’s Morricone- adopting the generic traditions of the monarchy and the rise to power of innocent crush on a lemonade seller to America, Chahine’s partly an allegory of, or tribute to, Egypt’s match, it turns on an extraordinarily the mythology of the western as it On, and gently observing the impact protagonist’s combative exchanges ter and the fundamental problem culinary-inspired monikers linked to inspired score bestows a spaghetti western. Screenwriter and director Arab nationalist Gamal Abdel Nasser (Hind Rostom, the “Marilyn Monroe autobiographical, highly cinephilic heroic pan-Arabist President Gamal candid portrayal of small-town life, also unravels its own making. Shot of a deadly earthquake on the with motorists, this ambivalent of discipline. Prefiguring future the country of production – “borscht” western flavour upon the Butch Žalakevičius, cinematographer Jonas in 1952, Chahine’s work increasingly of Arabia”) slowly evolves into a fiction combines archival footage Abdel Nasser, an angle no doubt the minute neorealist detail encoun- in Crimea, it concerns a zealous local community, it foregrounds the depiction of a figure plucked from directions in Kiarostami’s cinema, the westerns from the Soviet Union, Cassidy and the Sundance Kid-styled Gricius and actors Bruno O’Ya and fused together popular forms of dangerous obsession. Starting as a with a fantastical vision of World War accentuated by the filmmakers tered on the journey, a deceptively cinematographer’s (Andrei Mironov) profoundly contemplative sensibility the city’s ebb-and-flow draws upon film evolves into a narrative of one “sauerkraut” from East Germany, proceedings – except here the Donatas Banionis (best known as entertainment with social, cultural textured and humanistic examination II-era Egypt. Sparking controversy to secure the co-operation of the simple situation, and a bracingly fin de siècle visit to the fictional Wild of the director’s best work. Its Kiarostami’s youthful employment as student’s anxiety about their first day “goulash” from Hungary. “Osterns” anti-heroes are, of course, card-car- the lead in Tarkovsky’s Solaris, this and political themes. Chahine was of a society experiencing tumultuous and government censorship, it won Egyptian Government and military unsentimental vision of childhood. West town of Santa Carolina to prop- sublime concluding long take is a traffic cop. of school. transposed western generic topoi rying communists. 35mm print was his breakthrough role) were agate Paris’ new sensation, cinema, central in launching the career of social change, it transforms into the Silver Bear – Special Jury Prize in the production of such a hugely one of the defining moments in upon lands Sovietised at the time of courtesy of Gosfilmofond. Preceded nonetheless all awarded the USSR and its putative morally uplifting Omar Sharif, and his reputation a mixture of florid melodrama and at the Berlinale. expensive, widescreen spectacle. Kiarostami’s cinema. production, often setting their action by Cowboy Jimmy Dušan Vukotić State Prize for their work on this film. qualities. 35mm print courtesy was made by the release of the populist tragedy. The film is remarkable for the way it during the Russian Revolution or (1957) 13 mins – Unclassified 15 +. A Digital restoration. Digital print cour- of Gosfilmofond. exuberant, bittersweet, neorealist captures the fervent, post-colonialist amid the opening of new Eastern classic cartoon in which a western tesy of the Lithuanian Film Centre. Cairo Station in 1958. His vaunted spirit of the times, an Arab world European frontiers in the wake hero spills out of the silver screen, subsequent reputation rests on a looking to counter then-prevalent of either World War, while “red only to have his mettle tested in series of pan-Arab, pro-reform and Hollywood international historical westerns” utilised local environments the real world. Print courtesy of explicitly nationalist films he made blockbusters with an alternative as stand-ins for the American west, Zagreb Film. in the 1960s such as Saladin and narrative while emulating their grand, situating their action in America but The Land, movies that light on the overblown style. subjecting it to revisionist ideological struggle of peasants and peoples 9.00pm 8:35pm agendas, or even satire. Combined, against feudal landlords and foreign osterns and red westerns stand in THE WIND BLOWS UNDER invaders, as well as the quartet of 9:25pm FIRST CASE, SECOND CASE fascinating dialogue not only with YOUR FEET autobiographical works he made in MY ONE AND ONLY LOVE 8:55pm Abbas Kiarostami (1979) 8:25pm classical Hollywood westerns and György Szomjas (1976) 8.50pm the final three decades of his career. Youssef Chahine (1957) THE EXPERIENCE 53 mins – Unclassified 15 + THE LAND their revisionist variations, but also 90 mins – Unclassified 15 + LEMONADE JOE Directing over 40 films across six 110 mins – Unclassified 15 + 9:00pm Youssef Chahine (1969) Abbas Kiarostami (1973) Kiarostami’s pedagogical exercise, with those films produced in parallel decades, Chahine’s sometimes con- The first of Szomjas’ two stylish, Oldrˇich Lipský (1964) 130 mins – Unclassified 15 + Fondly remembered as one of the 60 mins – Unclassified 15 + initially shot before the Revolution, with them in Western Europe, such THE SONS OF GREAT BEAR troversially secular cinema reveals violent, Leone-influenced “goulash” 95 mins – Unclassified 15 + funniest and most energetic of all shows a teacher progressively as the Italian spaghetti western, Josef Mach (1966) a committed, deeply cinephilic, A community of impoverished Kiarostami’s first long-from work is westerns transposes genre tropes Egyptian musicals, this critically banishing boys from the classroom which they rival in aesthetic and 93 mins – Unclassified 15 + In this enduring cult comedy, Lipský internationalist, sexually adventurous, farmers living on the Nile Delta in a delicate tale of young love in Iran, onto the quintessentially Hungarian overlooked Chahine feature presents until someone owns up to being the thematic innovation. This season and co-writer Jiří Brdečka draw on explicitly non-fundamentalist and the 1930s draw up a petition to stop chronicled against a backdrop of puszta landscapes familiar from the An East German “sauerkraut” the filmmaker at his most brazenly cause of a disruption. Reworked to of wholly imported prints offers a the latter’s serialised stories and anti-colonial sensibility. their exploitation by major landown- class divisions prior to the Islamic cinema of Miklós Jancsó. Set in the western directed by a Czech entertaining. A Lubitsch-esque satire present two scenarios – one where grand primer in the Eastern western, plays to satirise the golden age of ers and ensure the irrigation of their Revolution. Largely composed 1830s, it concerns the antagonism communist, with Serbian actor about a man and woman forced the boys maintain solidarity, one offering six key features spanning the the western, as well as the com- land. Chahine’s deeply committed of vignettes of silence, this is a between an outlaw (charismatic Gojko Mitić cast in the lead role as a into a marriage of convenience who where a student names the culprit gamut of the genre, boosted by two peting ideologies of the West and and full-blooded agrarian portrait minimalist life portrait filtered Bulgarian actor Đoko Rosić) and a Lakota resistance fighter betrayed gradually fall in love with each other, – Kiarostami presents the episodes Lemonade Joe-inspired animated the East. An all-star cast grace this is a potent mix of melodrama, through documentary-style location sheriff (István Bujtor – the Hungarian by white settlers, this is the first of it marked Chahine’s second and last for comment to key figures of the shorts which further testify to the relentlessly inventive, colour-tinted agit-prop and social realism. Widely photography of Tehran. Within its Bud Spencer) against a backdrop of DEFA’s audaciously revisionist red collaboration with Farid al-Atrash and new Islamic regime, including the Cold War-era East’s paradoxical CinemaScope parody of the virtuous, championed by the Arab left, it is simple narrative, Kiarostami explores canalisation threatening both of their westerns. With the mountains of Shadia, each providing performances infamous “hanging judge”, Sadeq affinity for all things western. crooning cowboy B-westerns of one of Chahine’s most enduring his experimental approach to film traditional ways of life. With striking Montenegro standing in for the Black that show them at their comic peak. Khalkhali, Chief Justice of the Gene Autry and Tex Ritter. Preceded and important films. Adapted from structure, appearing here in its most cinematography from Elémer Ragályi Hills of South Dakota, Mach turns With Hind Rostom. Revolutionary Court. by Song of the Prairie Jiří Trnka a seminal novel by Abdel Rahman essential form. It is, according to and a plaintive folk score by Ferenc the cowboys-and-Indians trope on (1949) 23 mins – Unclassified 15 +. al-Sharqawi published just after Richard Brody, “the most intricate of Sebő. Digital print courtesy of the its head to critique the mythology Trnka’s brilliant puppet animation Egypt’s 1952 revolution, it gives voice his short features”. Hungarian National Film Archive. of the west, expose the lie of is the first screen adaptation of to the defining struggles engulfing Manifest Destiny and offer a coded Lemonade Joe. 35mm prints of both the nation. indictment of Cold War-era American films courtesy of the National Film imperialism. 35mm print courtesy of Archive in Prague. DEFA-Filmverleih.

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