MELBOURNE FEBRUARY 11–25 MARCH 4–18 MELBOURNE CINÉMATHÈQUE 2015 SCREENINGS MODERN LOVE: CHARISMATIC Wednesdays from 7pm at ACMI, Federation Square, Melbourne* Presented by the Melbourne Cinémathèque and the Australian Centre for PASSION, LONGING AGITATORS AND FLAWED the Moving Image. Curated by the Melbourne Cinémathèque. Supported by AND THE FILMS GENIUSES: THE CINEMA Screen Australia and Film Victoria. OF MICHELANGELO OF PAUL THOMAS MINI MEMBERSHIP ANTONIONI ANDERSON Admission to 3 consecutive nights: MARCH 18 Full: $28 / Concession: $23 (GST inclusive) 7:00 FEBRUARY 11 MAGNOLIA ANNUAL MEMBERSHIP 2015 Paul Thomas Anderson (1999) Admission for 12 months from date of purchase: 7:00 Full: $150 / Concession: $130 (GST inclusive) 188 mins MA LA NOTTE FEBRUARY 18 FEBRUARY 25 Michelangelo Antonioni (1961) FRIENDS OF CINÉMATHÈQUE 7:00 7:00 MARCH 11 A renowned cast assembles in an Ever since L’avventura was booed at its 115 mins PG MARCH 4 IL GRIDO IDENTIFICATION interconnected story filled with damaged, Admission for 12 months From date of purchase: Cannes premiere in 1960, Michelangelo 7:00 7:00 desperate characters dealing with loss Full: $270 / Concession: $240 (GST inclusive) 24 hours in the breakdown of a marriage. Michelangelo Antonioni (1957) OF A WOMAN Antonioni (1912–2007) has been PUNCH-DRUNK LOVE and searching for redemption. Two men Following L’avventura, Antonioni further Michelangelo Antonioni (1982) Lauded by the American Film Institute as HARD EIGHT renowned as one of the most challenging 116 mins Paul Thomas Anderson (2002) dying of cancer, a former child quiz cham- Memberships available at ACMI Tickets and Information Desk explores the trials and tribulations of an “one of American film’s modern masters”, Paul Thomas Anderson (1996) and divisive auteurs in the history of 128 mins R pion, a misogynist motivational speaker, or online at www.acmi.net.au (booking fees apply for online transactions) alienated and unfaithful couple marooned Antonioni’s first international production Paul Thomas Anderson (1970–) staked his 101 mins MA 95 mins M European cinema. Emerging as a highly a trophy wife, a child prodigy, a bumbling ACMI: 03 8663 2583 in an unresponsive and indifferent inaugurated and fully cemented his Antonioni’s final incontestable master- claim amongst contemporary cinema’s regarded figure of the 1960s avant-garde, Screening in Un Certain Regard at After a brief foray into writing forSaturday policeman, and a compassionate nurse environment. The cold beauty of Milan’s mature, modern, elliptical style. A sugar piece recalls his epochal films of social most agitating and exciting auteurs with * Admission 18+ except where classification is indicated. Antonioni was one of the first postwar Cannes, Anderson’s beautifully controlled Night Live, Anderson paired up with – whether by coincidence or destiny modern architecture and the murky refinery worker (Steve Cochran) wanders alienation and infuses their themes with his Academy Award-nominated indie * For further conditions see the website. Italian filmmakers (alongside Federico debut feature, originally titled “Sydney”, Adam Sandler to create a surprising, their paths cross. Despite hyperbolic streets through which Jeanne Moreau’s with his young daughter through the a startlingly frank sexuality. In a daring drama, Boogie Nights. Raised a Roman Fellini) to challenge the formal limita- inaugurated a series of collaborations even gentle film. Sandler’s portrayal of flourishes and a biblical plague, Anderson melbournecinematheque.org character aimlessly wanders, provide wintry and desolate Po Valley landscape and risky move, the main character is a Catholic, Anderson’s body of work, tions of neo-realism. Like so many other that would come to shape his career. intense loneliness, framed by the weight concentrates on the minute details that Email: [email protected] the film’s pungently moody and gauzily where the filmmaker grew up. Taking a film director himself, and the story of comprised of disparate but fascinatingly directors of his period, Antonioni branched Grouping the prodigious talents of John C. of his fits of anger, reveals a far more make us human and the small actions Like us on Facebook and follow us on Twitter for all Cinémathèque info. lit background. The extended party characteristically “road” form, it is an elegy his ensuing affairs is a discomfortingly interconnecting characters and profoundly out into completely new territory, forging a Reilly, Philip Baker Hall, Gwyneth Paltrow, nuanced performance than the broad that can have far-reaching consequences. sequence that concludes the film is one to one man’s mental disintegration when ambiguous expose of masculine desire networked narratives, continues to Join our weekly reminder list: simply send a SUBSCRIBE email to our email uniquely personal, radical and profoundly Samuel L. Jackson and Philip Seymour comedy the actor is widely known for. Audaciously deploying Aimee Mann’s of the highpoints of Antonioni’s career isolated from those he loves. In many and creative obsession. With surprising examine the dysfunction of families and address listed above. Articles on many films in the program can be found in modernist approach to filmmaking, at Hoffman into a study of night crawling, An unusual romantic comedy, Anderson evocative “score”, it stars Julianne Moore, and characterises his concern with the ways a precursor to such later peripatetic comic moments and typically audacious relationships, isolation, regret, and the Cteq Annotations on Film, online at sensesofcinema.com once highly affected, deeply contemplative this expansion of the director’s short pits the quest for romance against a William H. Macy, Tom Cruise, Jason disconnections of contemporary life, the works as L’eclisse, Zabriskie Point and visual set pieces, the film is both a sum- role of destiny and chance. After initially and boldly expressive yet full of ambiguity, Cigarettes & Coffee (1993) tracks the constant threat of nervous breakdown, Robards, Philip Seymour Hoffman, and The new Friends of Cinémathèque membership is a way for you restless boredom of the bourgeoisie, The Passenger, this transitional opus, mation and development of Antonioni’s making movies on a Betamax video play and digression. Antonioni remains shifts of power and affection between a inverting generic expectations in favour the great Philip Baker Hall. Preceded to support the vitality of the Melbourne Cinémathèque, an independently the mystery of human relationships and combining the ambulatory landscapes of thoughts on modernity and the entropy camera at age 12, he had written and one of the most revered, evoked and mentor and his mentee across the Nevada of empathy over narrative gratification. by Mattress Man Commercial Paul organised, not-for-profit organisation. In addition to annual membership the discomfiting freedom wrought by neo-realism with a more modernist vision, in human relations. Brilliantly shot by directed his first film, a 32-minute mock- imitated figures of art cinema and one of casino circuit. Anderson’s audacious yet With Emily Watson, Luis Guzmán and Thomas Anderson (2003) 1 min, a parodic you will receive: modernity. With Marcello Mastroianni, is probably the director’s most underrated Carlo Di Palma. 35mm print courtesy umentary inspired by an article on porn the key influences – alongside Dreyer and assured direction dazzles in neon-noir. Philip Seymour Hoffman. escapade, and Blossoms and Blood Monica Vitti and Bernhard Wicki. 35mm film. With Alida Valli.35mm print courtesy of Cinecittà Luce. star John Holmes, by the time he was 17. Tarkovsky – on what is now (not unprob- Paul Thomas Anderson (2003) 12 mins, • 1 complimentary ticket for an • 15% discount at Optic Kitchen + print courtesy of Cinecittà Luce. of Cinecittà Luce. The Dirk Diggler Story, which would later 8:45 lematically) termed “slow cinema” and the 9:20 8:50 a collection of alternate and deleted takes ACMI-programmed cinema session Bar and the ACMI Store serve as the inspiration and “blueprint” for style of great contemporary filmmakers 9:10 ZABRISKIE POINT BOOGIE NIGHTS THERE WILL BE BLOOD from Punch-Drunk Love. • 3 x single passes to bring a friend to • Exclusive invitations to cinema such as Tsai Ming-liang, Nuri Bilge Ceylan THE PASSENGER Michelangelo Antonioni (1970) Boogie Nights, came from his provocation Paul Thomas Anderson (1997) Paul Thomas Anderson (2007) a Cinémathèque screening any time events, previews and screenings that pornography “could” and “should” be and Pedro Costa. Antonioni’s cinema is Michelangelo Antonioni (1975) 110 mins M 155 mins R 158 mins M in the calendar year • Subscription to the ACMI Film most commonly noted as conveying a a genre of legitimate filmmaking. Walking • Discounted member prices for Member e-news 126 mins PG Comparable to Citizen Kane in that it palpable and psychological sense of time Antonioni’s most visionary work is a out on his formal film education, calling its Anderson’s breakthrough film is ACMI-programmed cinema • An ACMI Film Membership card depicts nothing less than the making and space, particularly through his use of Jack Nicholson stars as a disillusioned massively expensive, impressionistic view canonical curriculum boring, like “home- an episodic and often disarmingly sessions that can be used to scan into of America, Anderson’s profoundly the long take, and his exquisite, lingering journalist who makes the strange decision of late ’60s American materialism culmi- work or a chore”, Anderson watched films, sweet-natured tale of intersecting lives Cinémathèque sessions. ambitious film is also a “parable about and existentially charged framings of to exchange identities with a colleague nating in one of the most extraordinary listened to audio commentaries and wrote in the late 1970s Los Angeles porn capitalism, piracy and initiative” (David characters against starkly imposing urban, he has discovered dead in his hotel room. explosions ever captured on film. Featuring his own screenplays, garnering technical industry. Heavily influenced by an array Thomson). Inspired by, but in no way an industrial and natural landscapes. Less Antonioni’s third English-language feature several audacious set pieces including a experience through piecemeal work of filmmakers including Scorsese and adaptation of, Upton Sinclair’s novel Oil!, remarked upon is Antonioni’s recurrent is an evocatively subdued thriller and road rhapsodic lovemaking sequence in Death as a production assistant on television Altman, Anderson’s second feature is an the film revolves round Daniel Day-Lewis’ concern with the figure of heterosexual movie (taking in Barcelona, London and Valley and an ambiguously staged univer- movies, music videos and game shows in exuberant, intermittently critical and bril- Oscar-winning performance, thrown into lovers: intense, often emotionally subdued North Africa). Luciano Tovoli’s arrestingly sity shooting, Antonioni’s characteristically Los Angeles and New York. This season liantly rendered vision of modern life in the sharp relief with Paul Dano’s role as the relationships between men and women scenic cinematography is harnessed to abstract anti-establishment reflection charts Anderson’s rise as one of the San Fernando Valley (where the director SUPPORTED BY antagonist. Exaggerated, hyperbolic, beset by an overwhelming sense of pas- express psychological tension in pure on tumultuous times was co-written by greatest American directors to emerge was raised). Full of eye-popping images, anti-naturalistic, this is oil-black comedy sion, tension, mystery, uncertainty and and dynamic visual terms, relegating Sam Shepard, Antonioni, Tonino Guerra over the last 25 years, and attests to both sparkling natural and neon light, it is masquerading as epic drama. Arguably unease. This season of local and imported conventional dependence on drama and and Clare Peploe and memorably scored his profound immersion in the cinema of another networked portrait of “family” life. Anderson’s greatest film, for many 35mm prints focuses on a series of films dialogue. The concluding sequence, a by such acts as Pink Floyd, The Grateful such significant mentors and influences The extraordinary ensemble cast includes critics it presented proof that “thrillingly, Melbourne Cinémathèque 2015 screenings which bring this latter aspect of his film- precisely executed seven-minute tracking Dead, The Rolling Stones and John Fahey. as Robert Altman (for whom he acted as Mark Wahlberg (as Dirk Diggler), Julianne dangerously new” invention was still PRESENTED WITH Wednesdays at ACMI, Federation Square, Melbourne making into clear focus, providing us with shot, suspensefully delivers the film’s final, With Rod Taylor. “stand-by director”), Martin Scorsese and Moore, Burt Reynolds, Don Cheadle and possible in the cinema. Atmospheric score a brilliant panorama of the ever-shifting inexplicable shock. With Maria Schneider. Jonathan Demme and the singularity of Philip Seymour Hoffman. by Radiohead’s Jonny Greenwood. 35mm melbournecinematheque.org attitudes and poses of passion and longing his own vision of the messy intersections print courtesy of the National Film and in the director’s work. Presented by the of modern life. Sound Archive, Australia. Italian Institute of Culture.

MARCH 25 APRIL 1–15 APRIL 22 APRIL 29–MAY 6 ANGER AND POISON: A COLLABORATION WITH “TO BECOME IMMORTAL DAVE KEHR PRESENTS RESTORED MATÍAS PIÑEIRO: THE THE MELBOURNE QUEER FILM FESTIVAL AND THEN DIE”: TREASURES FROM MOMA RULES OF THE GAME JEAN-PIERRE MELVILLE One of America’s most authoritative film critics, and now a senior “The luminous texture of Piñeiro’s IN THE UNDERWORLD curator at New York’s Museum of Modern Art, Dave Kehr comes to the films may well have to do with Melbourne Cinémathèque to introduce two of MoMA’s most intriguing new a desire for Utopia, for a more “I believe that you must be madly restorations, a pair of Hollywood creations from the first years of the talkies. civilized place for an artist than the APRIL 15 in love with cinema to create films. Presented in collaboration with the Museum of Modern Art (New York). country’s present circumstances.” You also need a huge cinematic 7:00 (QuintÍn, Cinema Scope) baggage.” (Jean-Pierre Melville) LE SAMOURAÏ Jean-Pierre Melville (1967) APRIL 29 (CONT.) 101 mins PG 9:10 THE PRINCESS OF FRANCE Melville’s most famous film is also one of 7:00 8:40 Matías Piñeiro (2014) 70 mins ANGER RISING APRIL 1 the most influential works of international POISON crime cinema, its pictorially abstracted, This light, playful and unrepentantly MAY 6 Kenneth Anger (1947–1972) 7:00 APRIL 29 Todd Haynes (1991) 85 mins R APRIL 8 Japanese-inflected, existential focus on labyrinthine addition to the director’s 7:00 85 mins UN FLIC the lone assassin casting a long shadow 7:00 ongoing Shakespeariada project takes the THEY ALL LIE One of the most powerful American Jean-Pierre Melville (1917–1973) made 7:00 7:00 A selection of essential films from the Jean-Pierre Melville (1972) over the work of Scorsese, Jarmusch, ROSALINDA bard’s Love’s Labour’s Lost and turns it debut features of the 1990s, Haynes’ a total of 13 features during his 25-year BOB LE FLAMBEUR Matías Piñeiro (1982–) is one of the most Matías Piñeiro (2009) 75 mins “Magick Lantern Cycle” by the foremost 98 mins PG Woo, Besson, Tarantino and To. Its Matías Piñeiro (2011) 43 mins into a kind of radio play. Characters shift, transgressive portmanteau film – part career. His elegantly cool gangster films Jean-Pierre Melville (1956) THE IRON MASK distinctive young voices to come out magus of the American underground. commanding noir sensibility and style, 9:00 overlap, scenes repeat, come undone In a secluded country house, a group of science fiction, part horror movie, part such as Le samouraï and Un flic are a Melville’s last film is an ideal, if bracingly Allan Dwan (1929) 95 mins of the “late wave” of Argentine cinema. Anger (1927–) emphatically announced 98 mins PG combined with its formally rigorous and WILD GIRL Commissioned for the Jeonju Digital and all gently and dreamily bleed into a young bohemian artists gather not only gay prison movie – became a crusade for major influence on post-1960s crime pessimistic, final testament. Opening Across his five films a number of motifs his arrival with his first extant film, restricted palette of image and sound, Dwan’s prolific oeuvre of over 400 films Raoul Walsh (1932) 78 mins Project, Piñeiro’s mid-length film was complex examination of love, ambition to drink, play music, have sexual encoun- conservatives outraged at public funding cinema (including a large chunk of the with one of the great sequences of the Melville’s highly influential, playful gang- and themes emerge. The hermetic world Fireworks (1947), a homoerotic work that create a physically palpable sense of the made over 50 years parallels the rise and the first in a trilogy of works inspired by and the creative process. “My films are ters and intellectualise but also to play for “gay porn”. Drawing blistering battle work of Quentin Tarantino, Michael Mann, director’s career, a brilliantly atmospheric ster film lovingly sketches Montmartre depicted in his work is full of personal escaped obscenity charges in California urban criminal milieu. An impassive but decline of the Hollywood studio system. Largely filmed amongst the giant Shakespeare. A group of young actors – like games that I invite the spectator to games, scheme and spy on each other. lines in the era of queer theory and AIDS Johnny To and John Woo), while such early and typically elemental seaside heist, it as both a realistic geography and a and political intrigue, of interchangeable and impressed Jean Cocteau. Shot in magnetic Alain Delon is perfectly cast in This Dumas adaptation, released two redwoods of California’s Sequoia National led by the charismatic María Villar as Luisa participate in. I like leaving empty spaces Leading the machinations is a descen- activism, this reimagining of Genet is works as Le silence de la mer and Bob le provides a distillation of Melville’s career cartoon milieu of two-bit criminal Paris. personalities and relationships, of play and France, Rabbit’s Moon (1950/1972) the ice-cold central role. With François years afterThe Jazz Singer, stands on the Park, Walsh’s exuberant and fond – rehearse As You Like It in picturesque for the viewers to enter my films” (Piñeiro). dent (Piñeiro regular Romina Paula) of as radical as the texts that inspired it. flambeur qualify as direct antecedents and his characteristically obsessive An homage to the mood and atmosphere artistic rehearsal. Piñeiro takes inspiration introduces Anger’s signature subversion Périer and Nathalie Delon. epochal cusp of the sound era. The king of parody of the early silent Western is an woods along the Tigre River. As she reads Argentine writer, intellectual and President Preceded by Un chant d’amour Jean to the French nouvelle vague (he even preoccupations. A melancholic and of the American gangster film, its from 19th-century Argentine writer-poli- of the pop soundtrack. Occult symbolism, swashbucklers, Douglas Fairbanks plays often-vertiginous adaptation of a 1907 the lines of Rosalinda, it is clear that Luisa Domingo Faustino Sarmiento, with Genet (1950) 26 mins R. Genet’s exqui- appeared in Godard’s Á bout de souffle metallic blue sheen imbues the film and low-budget joie de vivre and existential 8:55 tician Domingo Faustino Sarmiento, most cinema as fetish, biker subculture, visual D’Artagnan (as he had in 1921’s The Three play, Salomy Jane, about a frontier tomboy is increasingly preoccupied with the gamesmanship orbiting around rapid-fire site examination of homoerotic desire expressing his ambition “to become its characters with a death-like pallor world-weariness paved the way for the QUAND TU LIRAS CETTE overtly in his second feature They All Lie. appropriation and montage as magick Musketeers) in this lavish production, orig- (Joan Bennett) who falls for the ubiquitous contents of a troubling phone call she has verbal exchanges and kaleidoscopic was subject to decades of controversy immortal and then die”). His “sensibility” fully appropriate to this fatalistic and nouvelle vague in terms of its visual His last three films – hisShakespeariada combine to reach an apotheosis in LETTRE inally released as a part Vitaphone talkie. It stranger (Charles Farrell) who arrives in just received, and the boundaries between conversations leading deeper down the after its release. Genet himself regretted can be traced through such formative often-oneiric tale focusing on the relent- style, freewheeling approach to filming trilogy – are directly inspired by the come- Scorpio Rising (1964) M, the death Jean-Pierre Melville (1953) represented the first time Fairbanks spoke town. Following on from his widescreen performance and reality begin to blur. rabbit hole of hidden agendas. A formally the film, embarrassed by its crudity, yet it influences as existentialism, surrealism, less pursuit of criminals and the close and dedication to the byways of cinema dies of William Shakespeare. However, drive of which is countered by the rebirth 104 mins on screen and the last time he would work epic The Big Trail, made in 1930, Walsh inventive and disorientating reflection remains one of the most influential queer classical American cinema, poetic realism, bond between the almost somnambulistic history. Evocatively shot and featuring despite the vintage nature of his source 7:55 themes of Lucifer Rising (1972), which with Dwan, with whom he made 10 films. It populates the frame with a remarkable on Argentina’s 19th-century history of short films in cinema history. Herman Melville (from whom he took his detective (Alain Delon) and the chief a magnificently cool and knowing Melville’s third feature, his first to deal with material, and the inspiration of classic VIOLA features a soundtrack by Manson Family represents a final highpoint for Fairbanks depth of staging, action and character in dictatorship and liberalism. name), and his murky wartime experience suspect (Richard Crenna). With Catherine performance by Roger Duchesne as the figure of the criminal, and the first and theatre and literature, his films are very Matías Piñeiro (2012) 65 mins acolyte and convicted murderer Bobby whose career plummeted with the advent one of his major works of the early 1930s. as a Resistance fighter. Nevertheless, his Deneuve. the compulsive title character. only film he helmed as director without New restoration courtesy of the Museum much tales of the 21st century, specifically 8:25 Beausoleil. All films screen as 35mm of sound. New restoration courtesy of the Shot in 11 days, Piñeiro’s third feature valediction of such highly classical direc- being involved in the script, combines of Modern Art (New York). those of young Argentines living on the THE STOLEN MAN prints courtesy of the UCLA Film and 8:50 8:50 Museum of Modern Art (New York). eavesdrops on the lives and loves of tors as William Wyler, John Huston, Robert elements of noir and melodrama to tell the fringes (albeit the middle-class fringes) Matías Piñeiro (2007) 91 mins Television Archive. DEUX HOMMES DANS charming young bohemians in Buenos Wise and Charles Chaplin points toward LE SILENCE DE LA MER disturbing story of a brutally possessive of society. Piñeiro’s films exist outside the Aires rehearsing a single scene from an unflinching or aspirational classicism Jean-Pierre Melville (1949) 88 MANHATTAN gangster who wreaks havoc in the lives of national funding system and the director Piñeiro’s impressive feature debut follows Twelfth Night. Virtually plotless, the film forged in his own style and expressed in mins Jean-Pierre Melville (1959) an aspiring nun (Juliette Gréco) and the works with a tight-knit cabal of actors a capricious young woman who steals teems with effervescent and sophisti- his films’ attention to detail, deployment of 84 mins younger sister in her care. Shot in Cannes and crew. Part of the joy of encountering objects from museums and sells them Melville’s first feature is an intense, cated dialogue amidst the Shakespeare. iconographic objects and often restricted by Henri Alekan, Melville’s first concerted Piñeiro’s work – like the best of ’70s to antique stores, involving her friends compelling and poetic drama focusing on “A personal odyssey which marries Evoking the films of Rivette and Rohmer, emotional, tonal and aesthetic palette. At effort to break into the popular cinema Rivette – is putting the pieces of the puzzle in her web of deceit. Offering a strong the “plight” of a cultured and sympathetic cultural pilgrimage with sexual narrative” Piñeiro plays with notions of performance heart though, Melville’s films are movingly mainstream – a work he subsequently together; in these carefully structured sense of the Buenos Aires landscape, German officer (Howard Vernon) who is (Ginette Vincendeau), this freewheeling interacting with reality. With a cast of the paradoxical; romantic in effect, his movies viewed as compromised – contains several works, characters seemingly appear the film is steeped in Argentine history billeted in the home of a French farmer low-budget work includes Melville’s only director’s friends and shot in elegant are defined by a pragmatic, austere, rigor- key images and gestures that would be interchangeable and conspiracies develop and interwoven with strong influences and his daughter (Nicole Stéphane), starring role and features his only appear- close-ups, it is a miniature marvel of ous and highly stylised approach to subject revised and revisited in his later films. that may or may not be fully realised. The from 19th-century intellectual and who has sworn to never speak to the ance in one of his own films. Melville, beguiling and finely observed moments and genre. This season covers all aspects Melbourne Cinémathèque is proud to politician Domingo Faustino Sarmiento. invader. A work of images, gestures and aided by a dissolute photographer (Pierre of young urban inconsequence. of Melville’s career, including the first of his present all five of Piñeiro’s films to date. Fernando Lockett’s black-and-white silences rather than movement and action, Grasset), plays a journalist on the trail of a exemplary series of personal films about All films courtesy of Matías Piñeiro. cinematography glides through intimate Melville’s great portrait of resistance was a missing diplomat. Featuring exteriors shot the wartime occupation of France (Le spaces and tangential moments as significant influence upon Robert Bresson in nighttime New York, the film’s stunning silence de la mer), rarely seen works of the Piñeiro meditates on the nature of love and remains a definitive representation of location photography (by Michael Shrayer 1950s that illustrate his range (Quand tu and life. With María Villar. the Occupation. It opens the way for Léon and Melville, and overseen by Nicolas liras cette lettre and the largely New York- Morin, prêtre and the director’s master- Hayer in Paris) captures a gritty, documen- shot Deux hommes dans Manhattan), and work, L’armée des ombres. Based on the tary reality that, accentuated by the smoky several of his key crime films of the 1960s celebrated wartime novel by Vercors. jazz score, makes this Melville’s most and ’70s that define his reputation (capped direct homage to the American film noir. by the summation of his oeuvre, Un flic).

MAY 13 MAY 20 MAY 27–JUNE 10 JUNE 17–JULY 1 REBIRTH OF A NATION: A COLLABORATION WITH FILMS FROM THE SONGS OF COLOUR UNFLINCHING THE HUMAN RIGHTS ARTS & FILM FESTIVAL CO-OPS (PART 1) AND LIGHT: CHINESE GLASNOST: THE BOLD This program presents key works CINEMA’S FIFTH AND BIZARRE WORLD OF made by filmmakers associated GENERATION KIRA MURATOVA with the Sydney Filmmakers’ Co-operative in the 1970s and Made largely up of alumni of the Beijing ’80s, touching on an alternative Film Academy (the first graduates history of filmmaking in this rich after China’s Cultural Revolution) the amorphous group that would become period and covering films of known as China’s Fifth Generation of political activism, social protest, filmmakers sent electric currents through personal expression, sexual the international festival circuit, revitalising JUNE 17 JULY 1 7:00 liberation and technological and the reputation of Chinese cinema on the 7:00 cultural change (Melbourne will world stage. Including such luminaries as JUNE 10 7:00 DO THE RIGHT THING 9:15 BRIEF ENCOUNTERS be the focus of a follow-up Zhang Yimou, Tian Zhuangzhuang, Chen 7:00 ETERNAL HOMECOMING Spike Lee (1989) 120 mins R THE GREAT FLOOD Kaige, Zhang Zeming, Zhang Junzhao Kira Muratova (1967) 98 mins program in 2016). MAY 27 JUNE 3 Born 1934 in Soroca, Romania (now Kira Muratova (2012) 114 mins Bill Morrison (2012) 80 mins 8:15 and many others, these fresh-faced SWAN SONG This fevered celebration of multi-racial Moldova), Kira Muratova has made Shelved for 20 years by Soviet censors, THE LOVE LETTERS FROM newcomers loosened the reigns of their 7:00 7:00 Zhang Zeming (1986) 103 mins G In her latest film, made at the age of 78, Brooklyn in the midst of a blistering The spring of 1927 saw the most most of her films at the famous Odessa Muratova’s first solo feature contains TERALBA ROAD predecessors’ socialist-realist restraint. YELLOW EARTH THE HORSE THIEF JUNE 24 Muratova brings together her favourite heatwave remains Lee’s defining and destructive river flood in American history, Zhang, twice rejected by the Beijing Film Studio. She was largely unknown the building blocks of her experimental Stephen Wallace (1977) 50 mins They began making films using outlandish Tian Zhuangzhuang (1986) actors – from stars of Russian cinema most triumphant “joint”. So iconic is the the wild, untamed Mississippi River Chen Kaige (1984) 89 mins G Film Academy, got sweet revenge outside the Soviet Union until 1987 when, style including the use of flashbacks, a 7:00 expressions of colour and movement to 88 mins PG to amateur actors who had worked with film that the street on which it was shot causing mass migration to the cities and as he watched his first feature burn with the advent of glasnost, her films lack of clear or conventional narrative, Wallace stumbled upon a series of letters draw complex narratives and explorations Considered the breakthrough film that THE ASTHENIC SYNDROME her previously – to act in a film about… is now called Do the Right Thing Way. accelerating the dissemination of the through the international festival circuit, were taken off the censors’ shelves and montages of still photographs and audio in a Sydney flat in 1972, written by a man of character, and turning ideological purity brought the Fifth Generation filmmakers Tian’s breakthrough film is set in 1927, Kira Muratova (1989) 153 mins casting. But this is no ordinary film about Fired by the music of Public Enemy and a already rich musical legacy of the black gathering exultant reviews along the way. internationally recognised at film festivals. discontinuities. Focusing on the woman’s living in Newcastle in 1959. The letters into an anachronism, while some of their into the international spotlight, the a year of revolution in China as millions acting, as the director employs a variety of wonderful score by Lee’s father, and shot American South. For this collaboration Determined that Chinese cinema stop Idiosyncratic and totally independent, realm, and depicting a love triangle Muratova cleverly drags her audience chronicle the man’s persistent plea for particularly audacious works were banned directorial debut of Chen, featuring of peasants rebel against their landlords. cinematic devices to play with – even trick with punchy aplomb by Ernest Dickerson, with composer Bill Frisell, Morrison aping the cultural traditions of the West, Muratova’s unique vision has remained between a provincial bureaucrat (played through this masterpiece of glasnost by forgiveness after having severely beaten by Chinese censors. Dazzling Western art- luscious cinematography by Zhang Through bold, almost folkloric, imagery, – her audience. Through her much-loved Lee orchestrates a hugely dynamic web scoured archives for images of the Zhang created an unapologetically sub- uncompromised, while influential critic by Muratova), a wandering geologist and tragi-comic means, creating a window his wife, and serve here as the structural house audiences with films such asOne Yimou, brought a radically new aesthetic stark landscapes and minimal dialogue, use of the refrain and repetition, Muratova of characters in an exuberant masterwork devastation, assembling the degraded jective vision of China’s societal fissures Jonathan Rosenbaum has described her a country girl trying her luck in the city, into the future of post-communist Russia narrative against which the screen drama and Eight (1983) and Yellow Earth (1984), to Chinese cinema. Set in 1939 against we see Norbu, the titular horse thief, proves she continues to be fascinated with of inventive humanism. Starring Ossie debris into a haunting web of experience told through the yawning generation gap as “the greatest living Russian filmmaker”. this is nevertheless a documentary-like through the lens of affliction – an entire is set. Though the real-life woman, tracked the groundswell of the Fifth Generation the arid backdrop of Northern China, a struggling to support his family in Tibet. the aesthetic possibilities of the cinema. Davis, Danny Aiello, Rosie Perez, Ruby and memory. Frisell’s remarkable score, 6:30 between a father and son. This impressive Neither seeking political interpretations portrayal of Soviet life highlighting the society taken by the Asthenic Syndrome, down by a journalist, initially threatened to peaked with the award-littered likes of Red soldier collects peasant folk songs for His internal struggle plays out against Dee, Spike Lee, John Turturro, Samuel itself gleaned from the musical memories MY LIFE WITHOUT STEVE debut is a lyrical and emotional family or moralising, Muratova presents an divide between the urban intelligentsia once known as hypochondria. Banned 9:05 sue Wallace, she later changed her mind Sorghum (1987), Raise the Red Lantern reappropriation by the Communist army. the silence of the vast, peaceful and L. Jackson and Bill Nunn as the indelible of the devastated plains, escalates the film Gillian Leahy (1986) 53 mins PG melodrama that dives head first into the uncensored, often nihilistic vision of and the under-privileged peasants. by the Soviet government for obscenity, THE TUNER after seeing the film and its treatment of (1991) and Farewell My Concubine (1993). With a narrative mainly advanced through stoic countryside on the cusp of Chinese Radio Raheem. into the poetic sublime. horrible depths of the Cultural Revolution. everyday life complete with all its ugliness this caustic and allegorical epic uses Leahy’s celebrated short feature is a issues of domestic violence. With Kris The Tiananmen Square massacre of 1989 song lyrics, Zhang shot at particular times occupation. The film’s enchanting beauty 8:50 Kira Muratova (2004) 154 mins and cruelty. Breaking away from cinematic colour and its absence to great effect, passionate exploration of the inner life McQuade and Bryan Brown. dramatically dented the jubilance of this of the day to capture the bold colours of comes from its striking interplay between 8:55 LONG FAREWELLS conventions, and using experimental tech- enhancing a narrative that gradually builds Petty thievery and even an elaborate scam and everyday world of an “unseen” wave but did not stifle it entirely – many the landscape and “recreate” traditional social realism, Eastern religion, supersti- 9:20 BLUSH niques such as punctuating fragmented Kira Muratova (1971) 97 mins walls of discomfort around an imprisoned may be the work of idle hands, but the woman suffering the ache of romantic of the key directors continued to produce painting techniques. tion, morality, ethics and mythology. AGAINST THE GRAIN: Li Shaohong (1995) 115 mins PG storylines with absurdism, nonsensical audience as it battles identification with its titular piano tuner and his current lover will loss. Brilliantly shot in a Sydney apart- important work, some in self-imposed Ostensibly the story of the strained 8:40 8:40 behaviour and bizarre montages, frustrating and frustrated protagonist. do whatever it takes to get by in the hellish ment, and situated somewhere between MORE MEAT THAN WHEAT exile in places such as the United States Li’s film concerns the intertwined fate relationship between a divorced translator JU DOU THE OLD WELL Muratova doesn’t allow her audiences rubble of the former Soviet Union. Human Marguerite Duras and Max Ophuls, it is Tim Burns (1980) 76 mins and Australia, or in the less volatile land of two prostitutes – one meek, the other and her teenaged son, who would rather 9:45 to be passive viewers and often assaults nature itself comes under attack in this a “journey into the dazzling dark night of television. This season, designed to Zhang Yimou (1990) 95 mins M Wu Tiangming (1987) bold – in China during the 1950s, after live with his father in Siberia, the “film’s Burns’ remarkable, dystopic and them with manically repeated dialogue GETTING TO KNOW THE BIG sharp social satire, but the film’s true bite of the romantic soul” (Peter Kemp). showcase the vibrancy and eclecticism 130 mins PG both are forcibly inducted into an official almost unbearable tension… is explored challenging activist film charts the journey A torrid and intense melodrama of or sudden shifts in editing, leaving them WIDE WORLD is in presenting swindling as an art form. Preceded by Maidens Jeni Thornley of a cinematic movement as exciting and re-education camp by the People’s in a series of fluid, inventive sequences, and movements of Ray Unit, a contra- transgressive love, this period drama A man returns to his water-starved home as lost as the characters onscreen. Her Kira Muratova (1979) 75 mins Entertaining and deceptive, Muratova (1978) 28 mins. Combining home movies, unpredictable as its homeland, features Liberation Army. Jonathan Rosenbaum which bring a visual sophistication – with dictory figure who provides a fascinating was Zhang’s breakthrough film afterRed village in a struggling mountainous region films focus on strong female characters takes no prisoners as she likens street photographs and footage from films she some of the Fifth Generation’s most called it the “most emotionally complex acting and music to match – … [that] show A construction site, a symbol of newness conduit through which to survey a range Sorghum. Passionate performances of China, and joins in the effort to build deconstructing gender roles and relations crime to cinema. With Renata Litvinova, had acted in and worked on, Thornley’s celebrated works as well as several less picture I’ve seen from Mainland China Muratova [to be] streets ahead of her male and growth, serves as the background of hot-button issues including home- (including Gong Li in the title role) are a well. Wu’s portrayal of a resilient rural in a society in moral decay. From her Nina Ruslanova and Georgi Deliyev. highly influential work creates a poetic widely seen films that are now regarded about the effect of the communist contemporaries” (Ian Christie). Muratova’s to an impassioned and unresolved love grown terrorism, woodchipping, national matched by expressionistic and vivid tradition, inflected with moments of harsh early “provincial melodramas” to her and incisively critical “found” footage as key examples of the movement. All revolution on the lives of ordinary people”. important early feature, scripted by triangle. The drab terrain is little more security and the effects of technology compositions in overheated Technicolor. realism, is overflowing with compassion masterpiece The Asthenic Syndrome and essay on liberation, sexual equality and 35mm prints courtesy of the National Based on the novel by Su Tong (author prominent feminist Natalya Ryazantseva, than mud and cement, but the sky is on individual freedom. Preceded by Its grimly sumptuous combination of for the villagers and their way of life. The later films, this season charts a developing the public exploration of family life and Film and Sound Archive, Australia. of Wives and Concubines, subsequently was deemed too aesthetic, personal a blanket of colour and light, offering Serious Undertakings Helen Grace adultery and revenge found it banned film stars Zhang Yimou – who originated aesthetic of increasingly bizarre works history. Please note the earlier 6.30pm adapted by Zhang Yimou as Raise the Red and elitist by Soviet authorities, and was the three confused lovers the glow of (1983) 28 mins. Grace and Erika Addis’ by the Chinese authorities for several as the film’s cinematographer prior to embodied by her latest film Eternal start time for this program. Lantern) and featuring cinematography by subsequently banned and its director potential solace. Against this landscape, groundbreaking, montage-driven and years. On one level it is a gripping noir, his directorial debut – and won multiple Homecoming – a celebration of cinematic Li’s husband, Zeng Nianping. was ejected from the filmmakers’ union. the sensual, poetic and mundane beauty formally dexterous film playfully explores on another it is a savage indictment of Golden Rooster Awards in 1988 (including art and its uninhibited creation. All films of Muratova’s vision elevates the everyday contemporary politics, screen theory, and feudalism. The first Chinese film to be Best Picture alongside Zhang’s Red on 35mm, prints courtesy of Oleksandr reality of Soviet society. Starring Nina images of masculinity and femininity to nominated for an Academy Award for Sorghum). Dovzhenko National Centre. provide an open-ended argument about Best Foreign Language Film. Ruslanova, Sergei Popov and Alexei history and identity. Zharkov, and featuring a piano score by Valentin Silvestrov, Muratova has claimed this to be the favourite of her own films.

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Metropolis ACMI Collections, Park Circus and especially Graham Fulton, Hollywood Classics, Curated by: Michael Koller, Michelle Carey, President: Louise Sheedy. Music Festival. Madman Entertainment, Erica Frauman and Paul Thomas Anderson, Paramount Adrian Danks and Louise Sheedy, with Treasurer: Michael Koller. Pictures Australia, Sony Pictures Australia, Hungarian Filmunio, Cult Epics Inc, Potential assistance from Cerise Howard and Executive Committee Secretary: Films, Surf Film Srl, Compass Film Srl, Association of Moving Image Archivists Quentin Turnour, with thanks to Chris Eloise Ross. MUSIC INSPIRED BY THE MOVING IMAGE Dining, drinks & cinema Listserv, Ronin Films, China Film Archive, Film Programmers Listserv, Bill Morrison, Mildren and Kim Munro. Incorporated Association Secretary: MELBOURNE RECITAL CENTRE treats available at Fortissimo Films, Studiocanal Australia, Gaumont Film Company, Matías Piñeiro, Toho Marg Irwin. 9 – 16 MAY Optic Kitchen + Bar Co. Ltd, Cinecittà Luce, Claudine Kaufmann and Philippe Garrel, Films Distribution, Calendar Editor: Adrian Danks. Sponsorship Manager: Patricia Amad. CNC, Anthony Lucas, John Hughes, David Kehr, the Czech and Slovak Film Festival Notes by: Michelle Carey, Adrian Danks, Calendar and Screen Advertising, and For reservations please call of Australia, Národní filmový archiv (National Film Archive in Prague), Karel Zeman Cerise Howard, Tara Judah, Beata Marketing Coordinator: Eloise Ross. Melbourne 03 8663 2277 Museum, Czech Centres, British Film Institute, Oleksandr Dovzhenko National Centre, Lukasiak, Chris Mildren, Eloise Ross, Program Coordinator: Eloise Ross. 4-22 March ACMI Members receive 15% off Gosfilmofund, the Hungarian Digital Archive and Film Institute, Jeni Thornley, Gillian Dylan Rainforth, Louise Sheedy, Alifeleti Volunteer Coordination: Louise Sheedy. Leahy, Stephen Wallace, Helen Grace and Erica Addis, Tim Burns, Kadr Studios, Tuapasi Toki and Quentin Turnour. Membership Officer: Michael Koller. Filmoteka Naradowa (Poland), Anger Management Ltd, UCLA Film and Television Calendar Design: Carla McKee and PCF: Chris Luscri. Archive, the Human Rights Arts & Film Festival, The Melbourne Queer Film Festival, Warren Taylor. Subtitling Logistics: Lorenzo Rosa. Svenska Filminstitutet, AB Svensk Filmindustri, the Museum of Modern Art – New York. Calendar project management: Music Synchronisation: Michael Koller. Dylan Rainforth. Australian Centre for the Moving Image and especially Reece Goodwin, the National Webmaster: Alifeleti Tuapasi Toki. Film and Sound Archive of Australia, Film Victoria, Screen Australia, Patricia Amad and Present Company Included, Sirena Tuna, Stellar Dental, Senses of Cinema, Masafumi Konomi and The Japan Foundation, Consulate General of the Republic of Poland in Melbourne Cinémathèque Inc. ABN 59 987 473 440 Sydney, Australian Institute of Polish Affairs, the Italian Institute of Culture, Hungarian Apt. 1104, Manchester Unity Building, 220 Collins Street, Melbourne VIC 3000. Consulate-General in Sydney, the Goethe-Institut, Emmanuelle Denavit-Feller of the Email: [email protected] French Embassy, Institut Français, 3RRR. Web: www.melbournecinematheque.org

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ROMA! The Screen Life of the Eternal City Exclusive corporate gifts and unique hampers www.presentcompany.com.au 100% Pole & Line MELBOURNE JULY 8–22 AUGUST 26–SEPTEMBER 9 MELBOURNE CINÉMATHÈQUE 2015 SCREENINGS SOUNDS FROM THE UNADORNED RADIANCE: Wednesdays from 7pm at ACMI, Federation Square, Melbourne* Presented by the Melbourne Cinémathèque and the Australian Centre for MOUNTAIN: THE FILMS THE MANY FACES OF the Moving Image. Curated by the Melbourne Cinémathèque. Supported by OF MIKIO NARUSE INGRID BERGMAN Screen Australia and Film Victoria. MINI MEMBERSHIP Admission to 3 consecutive nights: Full: $28 / Concession: $23 (GST inclusive) ANNUAL MEMBERSHIP 2015 Admission for 12 months from date of purchase: Full: $150 / Concession: $130 (GST inclusive) JULY 15 7:00 FRIENDS OF CINÉMATHÈQUE Admission for 12 months From date of purchase: The often sad and subtly luminous cinema JULY 8 FLOWING JULY 22 It is almost impossible to encapsulate AUGUST 26 SEPTEMBER 9 the career of so prolific and versatile a Full: $270 / Concession: $240 (GST inclusive) of Mikio Naruse (1905–1969) is less well 7:00 Mikio Naruse (1956) 117 mins 7:00 talent as Ingrid Bergman (1915–1982). 7:00 SEPTEMBER 2 7:00 known outside of Japan than that of his Memberships available at ACMI Tickets and Information Desk WHEN A WOMAN ASCENDS Naruse’s bittersweet and poignant film LATE CHRYSANTHEMUMS Arriving in the United States after NOTORIOUS AUTUMN SONATA contemporaries Kenji Mizoguchi, Yasujiro 7:00 or online at www.acmi.net.au (booking fees apply for online transactions) THE STAIRS came at a time when the geisha tradition Mikio Naruse (1954) 101 mins achieving success in Swedish cinema, Alfred Hitchcock (1946) Ingmar Bergman (1978) Ozu and Akira Kurosawa. Although his ACMI: 03 8663 2583 Mikio Naruse (1960) 111 mins was in slow decline, threatened by the Bergman resisted the typical Hollywood LA PAURA films have been feted in retrospectives Combining three short stories written in 101 mins PG 92 mins M encroaching popularity of prostitution. makeover and instead was dubbed “the Roberto Rossellini (1954) 84 mins since at least the 1980s, and the subject Set in the unforgiving Ginza district, 1948 by Fumiko Hayashi (also the source * Admission 18+ except where classification is indicated. This female-populated film, based on Nordic Natural”. Within this image, she The second of Ingrid Bergman’s three The complex and fraught relationship of admiring dedications by film critics this elegantly understated melodrama author for Naruse’s Floating Clouds, Building on, rather than betraying, * For further conditions see the website. the novel by Aya Kôda, follows okiya navigated a strong and varied career of collaborations with Hitchcock is undoubt- between a daughter and her estranged such as Audie Bock, Donald Richie and showcases Naruse’s particular brand Repast and Lightning), Naruse’s filmic his neo-realist career, Rossellini uses house owner Madame Tsutayakko (Isuzu complex emotional parts: wholesome- edly one of the highpoints of both of their mother is gradually and painstakingly melbournecinematheque.org Shigehiko Hasumi, Naruse’s long career of humanism to great effect. With a style adaptation follows the interrelated lives melodrama to examine the “truth” of Yamada) as she struggles to keep her busi- ness and sexual sophistication, warmth careers and one of the greatest Hollywood unravelled in this tense, claustrophobic Email: [email protected] stretching over 40 years and close to 90 that feels both rigorous and light, Naruse of four retired Geishas in post-World human relationships. Though the decor is ness going, and her daughter Katsuyo, and cruelty, sensitivity and mystery. films of the 1940s. Bergman stars as the chamber drama, with the story taking Like us on Facebook and follow us on Twitter for all Cinémathèque info. films for various Japanese studios (though walks us through a woman’s day-to-day War II Japan. At the heart of this sombre upper middle class, the emotions are raw, played by the extraordinary Hideko The particular type of independence American daughter of a convicted spy who place over a single day and night. Ingrid most closely tethered to Toho) remains struggles as she weighs up her choices and elegiac film is the troubling and as a man and woman face the dissolution Join our weekly reminder list: simply send a SUBSCRIBE email to our email Takamine, tries to avoid following in the embodied by Bergman is rooted in her is “courted” by an espionage agent (Cary Bergman stars as the mother in her less celebrated than the three other between a man and a career. Naruse’s lovelorn figure of Kin, who has retired as of their marriage. Pointedly starring Ingrid address listed above. Articles on many films in the program can be found in geisha tradition. In acute detail the lives of star persona and threaded through her Grant) to infiltrate a Nazi organisation first and only collaboration with Ingmar giants of classical Japanese cinema. His attentive eye reveals the hotbed of sexual an aggressive landlord and moneylender, Bergman shortly before the end of her and Cteq Annotations on Film, online at sensesofcinema.com these women are observed as they spend screen presence, which she combined being established in postwar South Bergman, with Liv Ullmann cast as her uncompromising vision, often focusing politics of the gentlemen’s bar in which and to whom the other three protagonists Rossellini’s marriage and working rela- their days in close proximity, drinking and with a very unique type of sophistication America. A complex, bittersweet, brilliantly daughter. These roles were specifically The new Friends of Cinémathèque membership is a way for you on female characters, modern life, the our protagonist works. These politics are in debt. With Ozu and Naruse regular tionship, the director makes the intensely quarrelling, in anguish over their unknown and progressiveness. Bergman has constructed and shot romantic thriller, it conceived with each actress in mind. to support the vitality of the Melbourne Cinémathèque, an independently disappointments and betrayals of family, shift uneasily to keep up with a rapidly Haruko Sugimura as Kin, and cinematog- personal overtly political. Based on the future. With Kinuyo Tanaka. been both admired and dismissed for also represents a peak of studio filmmak- Ingrid Bergman’s last work made for organised, not-for-profit organisation. In addition to annual membership marriage and friendship, are possibly modernising Japan, poking holes in the raphy by Naruse’s regular collaborator novel Angst by Stefan Zweig, the film also these qualities (she was once famously ing in its use of sets, rear-projection, stars cinema exhibition is shot in a subdued you will receive: less immediately accessible and more glamorous facades of Tokyo nightlife. Masao Tamai (who also shot the original explores the reconstruction of Germany 9:10 denounced as an “instrument of evil” in and Ted Tetzlaff’s wonderfully expressive autumnal palette by the director’s challenging than those of his friend Ozu, Starring Hideko Takamine and Tatsuya Godzilla), this is one of the director’s most six years after Germany Year Zero. 35mm • 1 complimentary ticket for an • 15% discount at Optic Kitchen + MOTHER the United States Senate), but veneration cinematography. With Claude Rains as the career-long collaborator, Sven Nykvist. providing a hard-won, clear-eyed and Nakadai. piercing works. print courtesy of Cinecittà Luce. ACMI-programmed cinema session Bar and the ACMI Store Mikio Naruse (1952) 98 mins reigns, as the strength of her subsequent sophisticated former Nazi who Bergman With Erland Josephson and Gunnar moving image of contemporary Japan as • 3 x single passes to bring a friend to • Exclusive invitations to cinema 9:05 8:55 careers in Europe and again in the US is forced to marry. Courtesy of the British 8:35 Björnstrand. 35mm print courtesy of well as a profound awareness of the tran- In a working class suburb of Tokyo, the a Cinémathèque screening any time events, previews and screenings attest. Completing six films with Roberto Film Institute. ELENA ET LES HOMMES Svenska Filminstitutet. sience of things (mono no aware). Naruse REPAST various members of an extended family YEARNING in the calendar year • Subscription to the ACMI Film Rossellini during their relationship, she began his film career as a teenager Mikio Naruse (1951) 96 mins each face the vicissitudes of postwar life. Mikio Naruse (1964) 97 mins 8:55 Jean Renoir (1956) 98 mins 8:45 • Discounted member prices for Member e-news additionally worked with some of the working at Shochiku as a prop man and As the film’s title hints, Naruse (working GASLIGHT INTERMEZZO ACMI-programmed cinema • An ACMI Film Membership card Osaka housewife Michiyo harbours a Actress Hideko Takamine continued her cinema’s most highly regarded directors Loosely basing the plot on an attempted started directing at the start of the 1930s. from a screenplay by Yôko Mizuki) sessions that can be used to scan into quiet, unacknowledged disappointment extraordinary run as Naruse’s muse with – including Alfred Hitchcock, Jean Renoir George Cukor (1944) 114 mins PG 19th-century coup d’état, Renoir is more Gustaf Molander (1936) 86 mins Although he made a number of significant presents his poignant study of human Cinémathèque sessions. in her marriage to the inattentive and this typically profound and sympathetic and George Cukor – who illuminated interested in sex and slapstick than poli- works in the first 20 years of his career, struggle through the viewpoint of a teen- One of Hollywood’s most beloved mystery- Famous as the film that launched Ingrid petty-minded salaryman Okamoto. portrayal of a war-widowed shop owner her radiance on screen. This retrospec- tics in this whimsical romantic farce. Ingrid Naruse’s lasting reputation relies upon aged daughter observing her mother’s thrillers, and a rare example of a true noir Bergman’s Hollywood career, and bringing Frustration and latent bitterness struggling with the romantic affections tive includes a selection of her most Bergman plays a Polish princess who the extraordinary run of female-centred overwhelming struggle against poverty in period mode, Cukor’s lush adaptation her to the attention of David O. Selznick finally lash out when her vivacious and of her brother-in-law. Naruse’s film is a identifiable roles from Hollywood and her through her love affairs could change the dramas he made in the 1950s and ’60s and crushed hopes. The reflective framing of the hit Patrick Hamilton play gets the who insisted on her crossing the Atlantic attention-seeking niece moves in. It’s deeply tragic and pessimistic study of later years in Europe, including one of future of France. Colourful, light-hearted featuring the extraordinary performances device perfectly suits this award-winning high-gloss studio treatment absent from to recreate her role for his 1939 remake. an unusual performance for classical stifled emotion and social restrictions, her early Swedish films,Intermezzo , such and absurdist, the film delights in its own of actresses such as Hideko Takamine film’s mood of resignation and compas- Thorold Dickinson’s grittier 1940 British In this melodrama about a married Japanese cinema’s most iconic actress, counterpoised against a depiction of the indelible Hollywood classics as Notorious artifice and theatricality, dishing up frivo- and Kinuyo Tanaka and demonstrating a sionate pessimism. With Kinuyo Tanaka, version. The otherwise over-the-top tale concert violinist who falls in love with Setsuko Hara, here playing a brooding pitiless process of economics in postwar and Gaslight, and her final film role (she lous characters, sumptuous costumes and SUPPORTED BY meticulous and poetic understanding of Masao Mishima and Kyôko Kagawa. of psychological cruelty, secret identities his daughter’s piano teacher and leaves and life-soiled role at odds with her Japan. Another of Naruse’s complex exuberant musical interludes. Panned by the nuances of light, gesture and framing only made one more telemovie before and murder is carried by the glamour his family to tour with her, 21-year-old normally luminous and sweet type. A depictions of strong female characters, audiences and many critics on its release, as well as the pathos of everyday life her death) in Ingmar Bergman’s Autumn and polish provided by the classy leads Bergman is luminous opposite Gösta superb, nuanced, psychological study, the film contains one of cinema’s most Godard called it “the most intelligent film and female experience. This season of Sonata. It offers a small but radiant Ingrid Bergman, Charles Boyer and Ekman, a veteran of Swedish stage and Repast initiated the critical and recurrent quietly devastating final images. in the world”. With Jean Marais, Juliette imported 35mm prints focuses on the last glimpse of her vast and enduring legacy. Joseph Cotten, the emphatic pacing and silent film whose typically overwrought Melbourne Cinémathèque 2015 screenings partnership of Naruse’s film work, in the Gréco and Mel Ferrer. 20 years of Naruse’s extraordinary career gorgeous mise en scène. The film is the performance is fascinatingly contrasted PRESENTED WITH Wednesdays at ACMI, Federation Square, Melbourne first of his six adaptations of the fiction and includes such classics of Japanese epitome of Cukor’s expert genre elasticity. with Bergman’s more characteristically of Fumiko Hayashi. 35mm print courtesy of the National Film restrained and naturalistic one. 35mm melbournecinematheque.org cinema as When a Woman Ascends the Stairs, Flowing and Mother. All 35mm and Sound Archive, Australia. print courtesy of Svenska Filminstitutet. prints courtesy of the Japan Foundation. BREAK FOR MIFF

SEPTEMBER 16–23 SEPTEMBER 30–OCTOBER 14 OCTOBER 21–NOVEMBER 4 Co-presented with the Czech and EXISTENTIAL HISTORIES: CLOSE TO THE Slovak Film Festival of Australia, in partnership with the Karel Zeman THE FILMS OF JERZY FROZEN BORDERLINE: Museum in Prague. KAWALEROWICZ THE CINEMA OF KAREL ZEMAN: PHILIPPE GARREL A RETRO-FUTURIST FANTASIST NONPAREIL OCTOBER 28 (CONT.) NOVEMBER 4 9:50 7:00 LE RÉVÉLATEUR REGULAR LOVERS SEPTEMBER 16 Philippe Garrel (1968) 67 mins Philippe Garrel (2005) 183 mins OCTOBER 28 7:00 SEPTEMBER 23 OCTOBER 21 Garrel’s most concentrated work of per- Shot in stunning black and white 7:00 sonal expressionism depicts the figures JOURNEY TO THE Jerzy Kawalerowicz’s films deal in 7:00 by nouvelle vague favourite William 7:00 OCTOBER 7 of a woman (Bernadette Lafont), child BEGINNING OF TIME psychology and historical trauma. One SEPTEMBER 30 EMERGENCY KISSES Lubtchansky, whose absorbing camera AN INVENTION FOR OCTOBER 14 J’ENTENDS PLUS LA GUITARE (Stanislas Robiolles) and man (Laurent Karel Zeman (1955) 93 mins of Poland’s most prominent directors, 7:00 From the experimental fringes of his ’60s Philippe Garrel (1989) 90 mins wanders past Parisian scenes of revolution 7:00 Philippe Garrel (1991) 108 mins Terzieff) in various states of vulnerability, DESTRUCTION Kawalerowicz (1922–2007) was born in AUSTERIA 7:00 Zanzibar films to one of the key figures in May ’68 infused with Garrel’s typically Anticipating Spielberg’s Jurassic Park PHARAOH A characteristically intimate, autobi- evasion and distress. Set against a range Karel Zeman (1958) 78 mins M Gwozdziec, a town with a majority of Jews, Jerzy Kawalerowicz (1982) SHADOW of post-nouvelle vague French cinema Intensely intimate, melancholy and raw, enigmatic detachment. At the same time, by nearly 40 years, Zeman’s first feature Jerzy Kawalerowicz (1966) ographical film starring Garrel, his father of stark domestic, natural, theatrical and this is a detailed portrait of a culture of A visionary filmmaker who is a profound as well as Ukrainians and Poles (a history 109 mins Jerzy Kawalerowicz (1956) 98 mins (along with Maurice Pialat, Jean Eustache Garrel’s remarkable roman à clef provides to synthesise live action with animation This astonishing Grand Prix winner at Maurice, son Louis and then-wife, Brigitte industrial environments each tableau influence on filmmakers as diverse addressed in his filmAusteria ). Before 153 mins and Chantal Akerman), Philippe Garrel an off-centre and poetically oblique listless youth caught in changing times is equal parts delightful boys’ own Expo ’58 in Brussels was steampunk long At the outbreak of World War I, a group Sy. Based on actual events, Garrel plays a evokes a loose narrative sense of a family as Ray Harryhausen, Terry Gilliam, becoming part of Soviet Ukraine the town Criticised for its so-called Stalinist themes (1948–) occupies a unique place in French account of his fraught relationship with that intimately observes the intense adventure and gently didactic educational before the term was coined. Drawing Kawalerowicz’s most ambitious work is of refugees, Jews and aristocrats take director who passes over his wife (Sy) for a unit in crisis. This short feature is designed Tim Burton and Wes Anderson, Karel was, in the director’s own words, “totally of secret agents and hidden enemies, this cinema. Stylistically and economically, Nico in the late 1960s and ’70s. A film of love affair between a melancholy poet, film à laWalking with Dinosaurs. Four on the 1896 novel Facing the Flag, an elaborately staged, yet realistic epic shelter at an Austro-Hungarian inn near starring role in a film about their lives. The to be screened at 15 frames-per-second, Zeman’s (1910–1989) cinema ever looked destroyed by the Holocaust”. Following examination of the postwar postmodern Garrel’s oeuvre can be divided into two deep honesty, formal rigour and self-criti- François (Louis Garrel, the director’s boys sail upstream along the river of time, among other works by Jules Verne, it tragedy surveying the final years of the the Russian border. There seems to be a film is part of Garrel’s ongoing project of underscoring its status as a silent film, and simultaneously forwards and backwards the war, Kawalerowicz studied art and condition is also a whodunit. When police, distinct phases (though the director cism, it provides a dyspeptic and haunting son), and an artist, Lilie (Clotilde Hesme). encountering all manner of extinct wildlife ingeniously adopts the line engraving Egyptian Empire in the 11th century BC. shocking contrast between the peaceful- making contemplative confessions that features striking high-contrast cinema- in its inspirations, narratives, aesthetics then film in Krakow and worked as an security agents and a medical examiner himself breaks it into four). His films of portrait of the itinerant existence of Gerard “Garrel is not just an artless aesthete, he in tableaux inspired by the glorious paleo- aesthetic of Édouard Riou and Léon The plot centres on the political intrigues ness of the countryside and the constant impressionistically describe (his) life, love tography by then frequent-collaborator and means of production. Often dubbed assistant director on the first film made try to piece together an unknown man’s the 1960s and ’70s, represented here by (Benoît Régent) and Marianne (Johanna is unexpectedly and intensely romantic – art of Zdeněk Burian. Digital restoration Benett’s illustrations in original editions surrounding the rise and fall of Rameses sounds of distant combat threatening the and family. “Garrel’s cinematic universe is Michel Fournier. Courtesy of the National “The Czech Méliès” in recognition of his in post-World War II Poland. He worked identity, they uncover three distinct Le révélateur and La cicatrice intérieure, ter Steege) whose lives are fuelled by the imagining and realising a character who courtesy of the Karel Zeman Museum. of Verne’s novels while anticipating the XIII, and the challenge to his throne safeguard of the inn. But the former is a pared down, melancholy place two steps Film and Sound Archive, Australia. extraordinary ingenuity with illusionary as an assistant and then a fully fledged chapters of a fractured individual’s sorry feature a highly expressive aesthetic trials and tribulations of love, betrayal and can die for love” (J. Hoberman). Garrel’s Preceded by A Christmas Dream Cold War paranoia and antic derring-do presented by Herihor, High Priest of threatened from within, and Kawalerowicz away from the home movie” (Maximilian Le in-camera trickery, Zeman never strove for director on a number of films made in the life, each reflecting the social, political style, are regularly without dialogue, and addiction. This evocative exploration of most celebrated later feature won several Karel Zeman, Bořivoj Zeman, Hermína of the imminent James Bond films.Digital Amun. Adapted from the famously erudite delves deeply into the hidden chaos Cain). The film’s jazz score is by saxopho- realism in the homespun special effects socialist-realist mode before becoming and historical ruptures caused by the fascinate as psychological portraits of memory, time and the spaces between awards at the Venice Film Festival. Score Týrlová (1945) 11 mins. Zeman’s debut restoration courtesy of the Karel Zeman novel by Boleslaw Prus, this recently that’s just as destructive as the warfare nist Barney Wilen. 35mm print courtesy and animation techniques he yoked to live associated from 1955 – through his atrocities of World War II: the desperation their troubled characters (often inspired by things is widely regarded as one of the by Jean-Claude Vannier. With Brigitte Sy is a delightful and surprising Yuletide Museum. Preceded by The Mysterious restored and rediscovered film is quickly surrounding it. Photographed with a lyrical of L’Institut Français. action and location shooting, but rather for appointment as the inaugural director of and horror of the war, the immediate the real lives of the actors playing them). director’s masterpieces. 35mm print and Maurice Garrel. toy story. 35mm print courtesy of the Geographic Explorations of Jasper becoming recognised as one of the brutality by Zygmunt Samosiuk. their very artificiality to imbue his cinema the powerful Kadr film studio – with the postwar devastation and the lasting His films from the 1980s onwards feature courtesy of L’Institut Français. 8:40 National Film Archive in Prague. Morello Anthony Lucas (2005) 26 mins director’s masterpieces. with magical, poetic dimensions. Yet, so-called Polish Film School and a more effects on contemporary Poland.35mm larger budgets and high-profile actors PG. This superb Oscar-nominated 9:00 LA CICATRICE INTÉRIEURE almost paradoxically, it is often impossible psychologically invested style of filmmak- print courtesy of the Filmoteka Narodowa. and are more narrative-driven. J’entends 9:00 9:00 silhouette animation declares its 9:45 MOTHER JOAN OF THE Philippe Garrel (1972) 60 mins to spot the seams separating the “real” ing. “My films make two kinds of rows”, he plus la guitare and Regular Lovers, both L’ENFANT SECRET THE OUTRAGEOUS Melbourne-based maker to be a Vernian NIGHT TRAIN ANGELS 8:50 elements within his films from the wholly said, “the first of them comprises films on included here, won awards at Venice. Philippe Garrel (1979/1982) One of Garrel’s most celebrated films BARON MUNCHAUSEN fellow traveller. 35mm print courtesy of Jerzy Kawalerowicz (1959) 99 mins DEATH OF A PRESIDENT artificial. Across this season of imported the complications of power, love and faith; Jerzy Kawalerowicz (1961) L’enfant secret – screening in Australia for 92 mins of the ’70s is a hallucinatory tour de Madman Entertainment. To be introduced titles, augmented by two superb early Karel Zeman (1961) 83 mins the second comprises pictures… about Opening with a bird’s-eye view of 110 mins Jerzy Kawalerowicz (1977) the first time ever – is the turning point in force of symbolism, psychodrama and short works, Zeman’s cinema uncannily by the filmmaker. 144 mins PG One of the greatest of all Garrel’s films – Inspired by Gustave Doré’s engravings the complexities of the human character”. humanity milling like ants, this psycho- his aesthetic and production style, and landscape. It was also his first onscreen populates worlds both real and imagined Kawalerowicz’s loose adaptation of the and his first “post-Nico” work – this is also in the 1862 edition of Gottfried August This season presents selections from both logical thriller plays out on an overnight boldly ushered in this second phase of a collaboration with German singer Nico as previously rendered by great illustrators 9:15 events that took place in the French Kawalerowicz’s rigorous film depicts in one of his most harrowing. A man meets a Bürger’s book, Zeman’s peerless adapta- of Kawalerowicz’s tendencies: in the first train where a suspected murderer is more dialogue-driven style of filmmaking. (here also performing songs from her of the 16th through to the 20th centuries. A JESTER’S TALE town of Loudon in 1634 (which formed minute, historically accurate detail the woman; they fall in love. She has an illegiti- tion is a witty and beautiful succession of “row” can be found Mother Joan of the thought to be hiding. Claustrophobic in its A thematic through line in Garrel’s 50-year masterpiece, Desertshore). The film’s Several of Zeman’s films – notably,The Karel Zeman (1964) 82 mins the basis for Huxley’s novel and inspired almost accidental election and nearly mate son and a tragic drug addiction. This colour-tinted marvels of trick photography, Angels, Pharaoh, Death of a President and use of constrained space, acute camera career has been a preoccupation with plot is open to interpretation, with Garrel Outrageous Baron Munchausen and, Ken Russell’s The Devils), transposes the immediate assassination of Poland’s simple premise, like in so many of Garrel’s perfectly aligned to the grand whimsy In this satirical take on the Thirty Years’ Austeria; in the second, Shadow and Night angles and tight framing, it is accom- relationships, both familial and romantic. himself playing a silent shepherd (or is he especially, the proto-steampunk An action to a Polish convent, where a priest Leftist first President, Gabriel Narutowicz. films, is but an outline for a pure cinema of of the famed Baron’s (Miloš Kopecký) War, Zeman’s continuing innovations in Train. Covering the director’s most fertile panied by a swinging jazz score. A sinister, His stories – at the same time haunting the devil?), Nico a distressed poetess and Invention for Destruction – also heavily investigates demonic possession among Filled with outrage at the perils of political image and gesture (witness the trembling quicksilver flights of fancy. Zdeněk Liška’s blending live action, animation and trick years, this season also introduces viewers paranoid atmosphere builds in this and haunted – are often linked to his Pierre Clémenti a naked horseman. A film reference Jules Verne in their storytelling nuns. However, he also finds himself fanaticism, the film draws clear parallels hand at the end). Stars two of Robert score ranks amongst his greatest. DCP photography collide with the nascent to the work of his wife and frequent microcosm of society to be eventually let own biography, most notably his youth in possession of an unequalled mythical and characters, their delight in the involved in unavoidable mutual attraction with the deaths of John F. Kennedy and Bresson’s “models”, Anne Wiazemsky and courtesy of the Karel Zeman Museum. Czechoslovak New Wave. A script from collaborator, actor Lucyna Winnicka. loose in an open field in an extraordinary as a May ’68 dandy, and his intense beauty, shot in 35mm in Death Valley, mechanics of impossible, anachronistic with the Mother Superior (Lucyna Salvador Allende, while emphasising the Henri de Maublanc. Winner of the Prix Preceded by Inspiration Karel Zeman one of that movement’s most brilliant scene of mob vengeance. With Lucyna relationship with German singer Nico. Egypt, Italy and Iceland. machines, vehicles and journeys, and Winnicka, in the title role). Rich in symbol- peculiar uniqueness of this event in Polish Jean Vigo in 1982. (1949) 11 mins. A frustrated fantasist and protean talents, Pavel Juráček, and Winnicka and Zbigniew Cybulski. This season of mostly imported 35mm in privileging the fantastical over the ism, this film is above all anti-dogma in its history. Winner of the Silver Bear at the (Zeman himself) looks out through a rainy aesthetic inspiration taken from the prints represents the first program mundane. This season of imported and message and has emerged over time as Berlin International Film Festival. window, triggering a reverie featuring 17th-century Topographia Germaniae dedicated to his work in Australia. restored prints also contains a superb Kawalerowicz’s most widely known and Kawalerowicz’s film emerges as a pene- exquisite glass figurine animation. Scored engravings of Matthäus Merian, enliven Zeman-esque short film by Melbourne celebrated work. Winner of the Special trating and urgent recreation that echoes by Zdeněk Liška. 35mm print courtesy of this star-studded romp, a picaresque affair filmmaker Anthony Lucas. Jury Prize at the Cannes Film Festival. the urgency of Costa-Gavras. 35mm print the National Film Archive in Prague. very much in the anarchic spirit of Jaroslav courtesy of the Filmoteka Narodowa. Hašek’s totemic The Good Soldier Švejk. 35mm print courtesy of the National Film Archive in Prague.

NOVEMBER 11–25 DECEMBER 2 DECEMBER 9–16 AND THE PEOPLE STILL BILL MORRISON: ARCHIVAL ALCHEMY DESIGNING MODERNITY: The Melbourne Cinémathèque is a ASK: THE CALLIGRAPHIC THE FANTASTIC STYLE not-for-profit organisation dedicated to CINEMA OF MIKLÓS OF MARCEL L’HERBIER importing and screening significant films JANCSÓ from the history of international cinema. The Melbourne Cinémathèque started out as the Melbourne University Film Society DECEMBER 16 in 1948. We changed our name in 1984 7:00 to reflect the Cinémathèque’s broadened L’ARGENT NOVEMBER 11 8:30 7:00 SPARK OF BEING Marcel L’Herbier (1928) 195 mins activities and ambitions. 7:00 NOVEMBER 18 BILL MORRISON: Bill Morrison (2010) 68 mins L’Herbier’s monumental updating of RED PSALM 7:00 ARCHAEOLOGIES Morrison’s use of the often decaying DECEMBER 9 Émile Zola’s late 19th-century novel Today, the Melbourne Cinémathèque Miklós Jancsó (1972) 87 mins M THE ROUND-UP (1995–2012) 80 mins The cinema of the near-forgotten Titan Even in an age of cinema where the NOVEMBER 25 visual remnants of bygone eras retells of rival bankers is a feverish portrait of virtuosic long take is part of every Miklós Jancsó (1966) 90 mins of French cinema Marcel L’Herbier 7:00 programs a diverse selection of classic This high water mark of Jancsó’s mature 7:00 Morrison’s astonishing and generous and reimagines historical tragedies, unfettered capitalism on the cusp of the adventurous director’s showreel, the (1888–1979) is a melange of extravagant L’INHUMAINE style is a work filled with stylised violence, Rated one of the greatest films of all time oeuvre is characterised by his cunning filmic fantasies and the metaphysical and Great Depression. Now widely regarded astonishing tracking shots of Hungarian THE RED AND THE WHITE style, elegance, camp, avant-garde and contemporary films featuring archival chaste nudity, symbolism, ritual and by his great acolyte and fellow country- appropriation of footage recovered and emotional recesses of human experience Marcel L’Herbier (1924) 135 mins as the director’s masterpiece, and as master Miklós Jancsó (1921–2014) Miklós Jancsó (1967) 90 mins technique and cinematic innovation. rousing songs. A staggeringly complex man Béla Tarr, Jancsó’s brilliant allegorical rediscovered from archives around the whilst at the same time highlighting the unquestionably one of the great works material and new or restored prints. continue to transfix and influence some In a career spanning much of the 20th Conceived as a vehicle for opera singer and ambiguous depiction of a peasant take on the long aftermath of a defeated Originally commissioned to celebrate world, often scored by distinguished very materiality of the medium he so of late silent cinema, it is a film of epic 50 years on. From the mid-1960s to the century, L’Herbier’s most astonishing films Georgette Leblanc, L’Herbier’s audacious socialist uprising against oppressive Hungarian uprising against Austrian the 50th anniversary of the October composers and musicians. This selection carefully choreographs. His version of scope and heightened melodrama that early ’70s, Jancsó produced challenging, were made in the silent era and fearlessly film tells the story of a haughty Parisian feudalist forces, the film defies narrative rule in 1848 introduced the director to Revolution, this is Jancsó’s supremely of four works showcases the depth and Mary Shelley’s Frankenstein is unlike any flaunts many of the key symbols of 1920s The Melbourne Cinémathèque is self- austere yet impassioned films that used experiment with the language of film, singer whom two men court (to her causality in a head-spinning flow of move- international audiences who embraced his even-handed but scarifying portrait of range of an artist Variety dubbed “one of adaptation you will have seen before; modernity such as Art Deco design, obscure historical incidents to ruthlessly using radical camera techniques and an indifference); when one suicides, the stage administered and membership-driven, ment or “choreo-calligraphy” (Raymond distinctive and often elliptical visual style. various battles along the Volga during the the most adventurous American filmmak- gorgeously combining found footage, the wonder of aviation, and the rise of analyse the universal theme of the arbi- almost fetishistic obsession with fashion is set for unexpected fantastical develop- Durgnat). Jancsó orchestrates a huge A massive success domestically, it reflects civil war between Communist and Tsarist ers”, and includes: Just Ancient Loops a dialogue-free “narrative” and trumpeter ostentatious consumerism. “The pursuit relying on support from individuals, trary administration and abuse of power. and design to create striking cinematic ments. The ambitions of the aesthetically cast filmed in sinuous long takes, creating on the betrayals and disappointments of forces. This often brutal and profoundly (2012), which combines high-res scans of Dave Douglas’ score. Preceded by Who of wealth” emerges as “a collective fever Depicting organised groups of national worlds. Privileging visual impact over minded L’Herbier lay beyond plot and he striking images from and around the script distant and recent history. Breathtakingly anti-war portrayal of the “birth” of nitrate footage with new CGI renderings by Water Bill Morrison (2007) 18 mins. dream from which no character wants to organisations and government funding to resistance and randomly inflicted cruelty, coherency, his films are propelled by an aptly described his film as a “fairy story of by regular collaborators Gyula Hernádi shot in widescreen, and featuring communism was subsequently and to depict different views of the heavens; A mesmerising and haunting collage of wake” (Michael Almereyda). Paradoxically, Jancsó managed to slip humanist and impressionistic fervour, combined with modern decorative art”. The film boasts maintain its standard of excellence. and Yvette Biró. Winner of Best Director uncompromising images of internment unsurprisingly banned in the Soviet Union the neo-noir CinemaScope “trip” movie, historical footage of ships’ passengers this often-scathing critique of wealth socialist critiques of the totalitarian regime a glamour and lavishness rivalled only in impressive collaborations in the fields of at the 1972 Cannes Film Festival. 35mm camps and the Hungarian puszta, it’s a and, according to Derek Malcolm, was Ghost Trip (2000); and Gotham (2004), gazing directly into the camera. and economic power was itself ruinously past the censors. Spectacular choreog- the oneiric deliriums of Cecil B. De Mille decorative arts, architecture and music, print courtesy of Filmunio. bracingly formal and clear-eyed vision “unlike anything else coming out in world Morrison’s majestic symphonic study of expensive to make and features an raphy, pitiless violence and a relentless and Josef von Sternberg. L’Herbier also as well as elaborate rapid cutting and melbournecinematheque.org of the inevitable round-ups enacted in cinema at the time”. Jancsó provides an New York City. often-dizzying aesthetic and unchained prowling camera make these films utterly 8:40 collaborated with major artists in other other innovative cinematic techniques. the name of dictatorships. 35mm print overwhelming, visceral but also distanced camera that parallels the rise and fall of unlike anything else in world cinema. THE CONFRONTATION media such as composer Darius Milhaud Art Direction by Claude Autant-Lara, courtesy of Filmunio. vision of epochal events and monumental its protagonists. With Brigitte Helm, Alfred and Cubist painter Fernand Léger, as well Alberto Cavalcanti and Fernand Léger. Filmed on the bleak Hungarian Great Miklós Jancsó (1969) 80 mins landscapes, all captured through his often Abel, Antonin Artaud and Jules Berry. as many leading fashion designers. When 35mm print courtesy of L’Institut Français. Plain, these fascinating, mysterious works 8:40 mesmerising long takes. 35mm print 35mm print courtesy of CNC. Audaciously original, Jancsó’s first film suing film studio Pathé in 1938 following can contain as few as 11 separate shots CANTATA courtesy of Filmunio. 9:25 in colour dramatises student radicalism an on-set injury where he lost an eye, and were widely feted at international Miklós Jancsó (1963) 94 mins LE BONHEUR festivals. A regular crew and cast worked in early postwar Hungary, while closely 8:40 L’Herbier also arguably established the Marcel L’Herbier (1935) 98 mins across these films, responding loyally to echoing the contemporary climate of After performing an intense operation, MY WAY HOME critical conception of the cinematic author Europe in 1968. With a title literally Jancsó’s rigorously planned sequences a young surgeon takes leave from his Miklós Jancsó (1965) 108 mins in arguing for the right to be considered An anarchist shoots and wounds a movie translated as “Sparkling Winds”, the film and shouted instructions (erased in hospital post in Budapest, retreating to his the film’sauteur . A key contributor to star on account of her popularity. He uses dance, song and stylised movement post-synchronisation). Despite decades father’s house in the countryside where he A Hungarian boy taken prisoner by the screen theory and the establishment of goes to jail and then falls in love with her. as surrogates for violent action. Students of surprising critical neglect, Jancsó experiences a major existential crisis. The Soviet Red Army is sent to labour on a cinema institutions in France, L’Herbier’s Charles Boyer, Michel Simon and Gaby and authority face off as Jancsó examines continued to make equally adventurous film’s original title,Oldás és kötés, literally remote dairy farm where he befriends legacy reaches beyond his prolific body Morlay star in L’Herbier’s wonderfully the relative democratic merits of debate films until 2010, four years before his translates as solutions and bandages, a young, isolated Russian soldier. Set of films. Ambitious, brilliant and ravishing, reflexive and humorous exploration of versus force, while using immensely death. But it is the stunning “formative” with the more friendly export title coming during the final stretch of World War II and the commanding and intoxicating films fame, obsession and the inescapability long takes and striking colour coding. features made in the 1960s and ’70s, such from Béla Bartók’s Cantata profana that described by Jancso as “autobiographical had made in the 1920s embody an irre- of love. Although based on a popular A favourite of the director himself; a as the celebrated The Round-Up, The Red is heard late in the film. Jancsó’s second in feeling, if not in fact”, the film docu- sistible enthusiasm for the possibilities play by Henry Bernstein, L’Herbier’s best sequel, Season of Monsters, followed and the White and Red Psalm, all included feature is heavily indebted to the then ments the random brutality of war and of the image. This season of imported sound film deploys a vibrant and highly almost 20 years later. 35mm print in this season of imported prints, which nascent style of Michelangelo Antonioni, the lyrical beauty of work and friendship prints includes several of L’Herbier’s most cinematic style in its examination of the courtesy of Filmunio. stand as Jancsó’s defining works and in particular La Notte, which Jancsó cited through a series of psychologically intense celebrated films, including one of the incessant blurring between public and remain as politically relevant as ever. as a direct influence. Based on a short yet poetic and dream-like encounters set greatest works of late silent cinema, the private life. Shot by the great American story by József Lengyel, Cantata features against a vast indifferent landscape. The truly monumental L’Argent. cinematographer Harry Stradling (A actual footage of open heart surgery. film was Jancsó’s first collaboration with Streetcar Named Desire, Angel Face). 35mm print courtesy of The Hungarian Gyula Hernádi and starred András Kozák. 35mm print courtesy of CNC. Digital Archive and Film Institute. 35mm print courtesy of The Hungarian Digital Archive and Film Institute.

THE MELBOURNE CINÉMATHÈQUE IS GRATEFUL TO: THE MELBOURNE CINÉMATHÈQUE 2015 SEASON

An American ACMI Collections, Park Circus and especially Graham Fulton, Hollywood Classics, Curated by: Michael Koller, Michelle Carey, President: Louise Sheedy. AllianceFrançaise Madman Entertainment, Erica Frauman and Paul Thomas Anderson, Paramount Adrian Danks and Louise Sheedy, with Treasurer: Michael Koller. In Paris. de Melbourne We teach French Pictures Australia, Sony Pictures Australia, Hungarian Filmunio, Cult Epics Inc, Potential assistance from Cerise Howard and Executive Committee Secretary: GERHSWIN’S IMMORTAL FILM Dining, drinks & cinema Films, Surf Film Srl, Compass Film Srl, Association of Moving Image Archivists Quentin Turnour, with thanks to Chris Eloise Ross. SCORE PLUS RAVEL AND SAINT-SAËNS Listserv, Ronin Films, China Film Archive, Film Programmers Listserv, Bill Morrison, Mildren and Kim Munro. Incorporated Association Secretary: enrolment intakes treats available at Fortissimo Films, Studiocanal Australia, Gaumont Film Company, Matías Piñeiro, Toho Marg Irwin. MELBOURNE TOWN HALL learn all year round for 30 OCTOBER AT 7.30PM Adults, High School Optic Kitchen + Bar Co. Ltd, Cinecittà Luce, Claudine Kaufmann and Philippe Garrel, Films Distribution, Calendar Editor: Adrian Danks. Sponsorship Manager: Patricia Amad. french Students & Children* CNC, Anthony Lucas, John Hughes, David Kehr, the Czech and Slovak Film Festival Notes by: Michelle Carey, Adrian Danks, Calendar and Screen Advertising, and in 2 locations: For reservations please call of Australia, Národní filmový archiv (National Film Archive in Prague), Karel Zeman Cerise Howard, Tara Judah, Beata Marketing Coordinator: Eloise Ross. St Kilda Branch / city Branch 03 8663 2277 Museum, Czech Centres, British Film Institute, Oleksandr Dovzhenko National Centre, Lukasiak, Chris Mildren, Eloise Ross, Program Coordinator: Eloise Ross. French Language & Cultural Centre since 1890 9525 3463 Dylan Rainforth, Louise Sheedy, Alifeleti Not-for-profit Australian association afmelbourne.com.au ACMI Members receive 15% off Gosfilmofund, the Hungarian Digital Archive and Film Institute, Jeni Thornley, Gillian Volunteer Coordination: Louise Sheedy. (*) Children courses at St Kilda only Leahy, Stephen Wallace, Helen Grace and Erica Addis, Tim Burns, Kadr Studios, Tuapasi Toki and Quentin Turnour. Membership Officer: Michael Koller. Filmoteka Naradowa (Poland), Anger Management Ltd, UCLA Film and Television Calendar Design: Carla McKee and PCF: Chris Luscri. Archive, the Human Rights Arts & Film Festival, The Melbourne Queer Film Festival, Warren Taylor. Subtitling Logistics: Lorenzo Rosa. Svenska Filminstitutet, AB Svensk Filmindustri, the Museum of Modern Art – New York. Calendar project management: Music Synchronisation: Michael Koller. Dylan Rainforth. Australian Centre for the Moving Image and especially Reece Goodwin, the National Webmaster: Alifeleti Tuapasi Toki. Film and Sound Archive of Australia, Film Victoria, Screen Australia, Patricia Amad and Present Company Included, Sirena Tuna, Stellar Dental, Senses of Cinema, Masafumi Konomi and The Japan Foundation, Consulate General of the Republic of Poland in Melbourne Cinémathèque Inc. ABN 59 987 473 440 Sydney, Australian Institute of Polish Affairs, the Italian Institute of Culture, Hungarian Apt. 1104, Manchester Unity Building, 220 Collins Street, Melbourne VIC 3000. Consulate-General in Sydney, the Goethe-Institut, Emmanuelle Denavit-Feller of the Email: [email protected] French Embassy, Institut Français, 3RRR. Web: www.melbournecinematheque.org

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