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Home , Arielle Dombasle, Cinematheque, Claude Chabrol, Dion Beebe, Elmar Klos, Fabrice Luchini

melbourne february 8–22 march 1–15 playing with cinémathèque marcello contradiction: the indomitable CINÉMATHÈQUE 2017 SCREENINGS

mastroianni, Wednesdays from 7pm at ACMI Federation Square, Melbourne screenings 20th-century February 8 February 15 February 22 March 1 March 8 March 15 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm Presented by the Melbourne Cinémathèque man WHITE NIGHTS A SPECIAL DAY LOULOU THE LACEMAKER EVERY MAN FOR HIMSELF and the Australian Centre for the Moving Image. (1957) (1961) (1977) Maurice Pialat (1980) Claude Goretta (1977) Jean-Luc Godard (1980) Curated by the Melbourne Cinémathèque. 97 mins Unclassified 15+ 105 mins Unclassified 15+* 106 mins M 101 mins M 107 mins M 87 mins Unclassified 18+ Supported by Screen Australia and Film Victoria.

Across a five-decade career, Marcello Visconti’s neo-realist influences are The Times hailed Germi Scola’s sepia-toned masterwork “For an actress there is no greater gift This work of fearless, self-exculpating Ostensibly a love story, but also a Hailed as his “second first film” after MINI MEMBERSHIP Mastroianni (1924–1996) maintained combined with a dreamlike visual as a master of farce for this tale remains one of the few Italian films than having a camera in front of you.” semi-autobiography is one of Pialat’s character study focusing on behaviour a series of collaborative video works Admission to 3 consecutive nights: a position as one of European cinema’s poetry in this poignant tale of longing of an elegant Sicilian nobleman to truly reckon with pre-World War Isabelle Huppert (1953–) is one of the most painful and revealing films. and the sexual politics of a relation- for European TV with partner Anne- Full: $30 / Concession: $25 (GST inclusive) most bankable stars. But his carefully and unrequited love. Wandering (Mastroianni) who dreams of entan- II fascist . Set entirely in the most highly respected, prolific and Taking, at its base, his failing rela- ship, Goretta’s “beautifully observed Marie Miéville, Godard’s “return” to cultivated public persona – the Latin aimlessly in the city of Livorno, gling his wife in an affair so he might labyrinthine apartment complex fearless actresses working in cinema tionship with regular screenwriter tragedy” () features “narrative” filmmaking fuses their ANNUAL MEMBERSHIP Lover living , conduct- Mario (Mastroianni) meets Natalia kill her in a supposed crime of passion. Palazzo Federici, screen icons Sophia today. Her illustrious 45-year career Arlette Langmann (here credited as Huppert in her breakthrough role recent experimentations in slow-mo- Admission for 12 months from date of purchase: ing affairs with co-stars like Faye (Maria Schell) and the two become A huge worldwide success, and a great Loren and Mastroianni play against profiles a formidable body of work co-writer), Pialat constructs a bruis- as Pomme, a young, fragile, unedu- tion video “decomposition” with the Full: $160 / Concession: $140 (GST inclusive) Dunaway and , enmeshed in each other’s loneli- showcase for Mastroianni’s comic type as tangential outsiders hanging across film, television and the stage ingly specific, yet freewheeling anat- cated working-class girl who lives an larger budgets and big-name stars enjoying the trappings of movie ness. Adapted from a short story by abilities, the film, based on a novel by out while the rest of gathers that has taken her around the world to omy of co-dependent romantic imma- unassuming life before being swept (Huppert, ) of Godard’s FRIENDS OF CINÉMATHÈQUE stardom while maintaining a stance Fyodor Dostoyevsky, this fascinat- , won the Oscar for to witness the reception of Hitler by collaborate on challenging produc- turity through ferociously committed off her feet by a bourgeois student celebrated ’60s period. The result is Admission for 12 months from date of purchase: of casual dismissiveness towards his ing transitional work in Visconti’s Best Original Screenplay. Co-starring Mussolini. Utilising virtuoso camera- tions in , the , star performances by Huppert and who tries to “improve” her… with a key transitional work that finds Full: $290 / Concession: $260 (GST inclusive) profession (his response to receiving career features a groundbreaking as the teenage work by , and a South Korea, Australia, and many Gérard Depardieu. Tortured and devastating consequences. The film, Godard’s essayistic interventions The Friends of Cinémathèque membership is a way for you to support the the Legion d’honneur: “I am a charla- performance by Mastroianni that is cousin and object of Mastroianni’s constant soundtrack of blaring radio other countries. Recognised for her tender, this is a key work of “wild with its title taken from the Vermeer contrapuntally set against narrative, vitality of the Melbourne Cinémathèque, an independently organised, tan. A buffoon.”) – masked the disci- pre-emptive of his soulful, world- desire, this is a shamelessly beguiling commentary, Scola creates profound dedication to acting on screen as well realism” from one of the luminaries of painting, urges us not to overlook the creating “precisely calibrated pileups not-for-profit organisation. In addition to annual membership you will pline and dedication that sustained weary and highly influential roles for satire of patriarchal Italian society insights through his dextrous use of as on the awards circuit even prior to the “Second New Wave,” a group that unremarkable, anonymous members of spoken and printed texts and of receive: him as one of the greatest actors in Fellini and Antonioni in the following and law and is the defining work of the limitations of time frame, casting winning the BAFTA for Best Newcomer also includes , Philippe of society while providing a piercing sync sound, voice-over, music, and • 1 complimentary ticket for an ACMI programmed cinema session the history of cinema. Equally at decades. With Jean Marais. Music by Commedia all’italiana. and setting. for her subtle and devastating Garrel and Jacques Doillon. study of class and cultural difference. effects” (Amy Taubin). • 3 × single passes to bring a friend to a Cinémathèque screening any time home in the carnivalesque surrounds . performance in Claude Goretta’s The 35mm print courtesy of Cinecittà Luce. 35mm print courtesy of Cinecittà Luce. in the calendar year of Fellini and Ferreri as the auster- Lacemaker, Huppert’s talent, tenacity 8:55pm 9:00pm 8:40pm 35mm print courtesy of Cinecittà Luce. • Discounted member prices for ACMI programmed cinema sessions ity of Antonioni and Angelopoulos, and highly technical skill has led to WHITE MATERIAL THE PIANO TEACHER • 15% discount at ACMI Cafe & Bar and the ACMI Store he provided depth and gravitas to her working with some of the world’s Claire Denis (2009) (1988) (2001) 8:55pm 8:55pm • Exclusive invitations to cinema events, previews and screenings innumerable light comedies and best and most adventurous directors. 106 mins MA 108 mins M 131 mins R 8:50pm BIG DEAL ON MADONNA STREET ALLONSANFÀN • Subscription to the ACMI Film Member e-news romances, added an impish whimsy Winner of Best Actress awards at 8½ (1958) Paulo and Vittorio Taviani (1974) Denis’ intense and disturbing collab- Chabrol’s chilly historical drama Haneke offers another of his unflinch- • An ACMI Film Membership card that can be used to scan into to heartbreaking tragedies and built a † Cannes, the Césars and the Venice Film (1963) 106 mins Unclassified, all ages 115 mins M oration with the fearless Huppert is based on the true story of Marie- ing depictions of the violence beneath Cinémathèque sessions. gallery of characters as rich, diverse Festival, she has shown herself to be a 138 mins M is a brooding and sobering survey Louise Giraud, one of the last women the surface of comfortable bourgeois and subtly delineated as any in Initially beginning their filmmak- master of complexity and controlled Lauded by as “the best This loving spoof of the caper film of tension, dissolution and violent to be guillotined in France. Huppert life in this adaptation of Nobel Prize- MEMBERSHIPS AVAILABLE AT: cinema. But perhaps his most indelible ing careers operating in a scrupu- nuance who understands the common film ever made about filmmaking,” boasts a veritable who’s who of classic revolution in an unidentified region plays a contradictory and ambiguous winner Elfriede Jelinek’s 1983 novel, • ACMI Tickets and Information Desk (03 8663 2583) contribution was the creation of his lously realist, docu-drama mode, gravity of the intense roles she plays and spawning countless imitators Italian cinema including Vittorio of postcolonial West Africa. Ostensibly figure who rejects traditional family focusing on the titular masochist • Online at www.acmi.net.au (booking fees apply for online transactions) stock character, referred to by his the Tavianis took a turn towards the while also being capable of a perverse from to Bob Fosse, this Gassman, Renato Salvatori, Totò and, centred on the futile efforts of Maria values and performs illegal abortions (Huppert) and her obsession with an biographer Jacqueline Reich as the semi-Brechtian with this acerbic, and sometimes surprising sense of playful, deceptively autobiograph- in one of his most fondly remembered (Huppert), an obstinate planta- in occupied France during World War initially resistant teenage student Please note, membership does not ensure admission: members will only be inetto. Neither hero nor anti-hero classically ’70s anti-spectacle, star- humour. Endowing her performances ical Oscar-winning reverie on the break-out roles, Mastroianni, playing tion owner, to avoid displacement, II. Coolly presenting the facts in a (Benoît Magimel). Huppert rightly admitted to cinema capacity. – Mastroianni referred to himself ring a game Mastroianni. A visually with an astonishing range of passion, mysteries of the artistic process is one a gang of small-time crooks scheming the film’s expansive focus deftly detached and pragmatic way, Chabrol won acting awards across Europe for as a “non-hero” – this selection of expressive, sardonic and halluci- pleasure, anger, violence, discontent of the landmark works of European to hold-up a state-run pawn shop. illustrates the struggle of a star- neither condones nor condemns her full-blooded depiction of ruthless FILM CLASSIFICATIONS: impotent lovers, cuckolded husbands, natory historical drama about the and psychological nuance, Huppert’s art cinema. Three years after their Monicelli uses the conventions of the tling panorama of figures including Giraud’s actions but is deeply critical perversity. Haneke, as usual, creates * Where a film is labelled “Unclassified 15+” viewers are required to be frustrated artists, bumbling crimi- death of revolutionary ideals, this is mercurial screen work is an incred- worldwide success with La dolce heist film and the various traditions wayward rebel fighters, groups of of corrupt and the a dynamic contrast between his cold, 15 years or older, unless accompanied by an adult. nals and rejected romantics intro- the Tavianis’ “kiss-off to individual ible gift to the cinema. This season vita, Fellini and Mastroianni once of Italian cinema including neo-re- workers and servants, Maria’s own patriarchal hypocrisy that ignores dispassionate, unblinking cinematic † Where a film is labelled “Unclassified, all ages” no age restriction duced a new kind of leading man: idealism, embodied by Mastroianni’s celebrates Huppert’s greatest work in again teamed up to explore the porous alism to maximum effect in this disintegrating family, and a troupe of the bleak social conditions that force style and the raw intensity of emotion applies. passive, detached, bemusedly ironic, self-involvement – a ‘great actor,’ French cinema with a range of notable boundaries between life, art and highly influential and internation- orphaned child soldiers, ensnared in her hand. he encourages from his performers. the perfect vehicle to express the who sees political engagement as ulti- directors including Claire Denis, dreamlike imagination in this exhila- ally successful work that Jonathan the inchoate and uncertain climate Follow us on Facebook and Twitter for all Cinémathèque information. unstable political, social and sexual mately a matter of uniforms, a concept Maurice Pialat, Jean-Luc Godard, 35mm print courtesy of the National Film and 35mm print courtesy of the National Film and rating circus-like comedy memorably Rosenbaum dubbed “one of the funni- of an escalating land conflict. With Sound Archive, Australia. Sound Archive, Australia. Articles on many films in the program can be found in Cteq Annotations on climate of post-war Italy. This season literalised in the finale for withering Claude Chabrol and Michael Haneke. est Italian comedies ever made.” With Michel Subor, Isaach De Bankolé and Film, online at www.sensesofcinema.com of carefully selected features charts scored by Nino Rota. Also starring irony” (Fernando F. Croce). With Lea . Christopher Lambert. the development of Mastroianni’s Claudia Cardinale, Anouk Aimée and Massari. Website: melbournecinematheque.org career from the formative Big Deal on Barbara Steele. 35mm print courtesy of Cinecittà Luce. 35mm print courtesy of Cinecittà Luce. Email: [email protected] Madonna Street and White Nights to Courtesy of the British Film Institute. his seminal performances in Divorce Join our weekly reminder list: Italian Style and 8½ as well as his send a SUBSCRIBE email to our address listed above. Oscar-nominated role in A Special Day.

march 22–29 april 5 april 12–26 “i’ll may 3 bold aspirations: harold working women, : show you the lloyd and 1920s america showgirls and in life of the mind”: trangressive March 22 March 29 March 29 (cont.) the 1970s the intoxicated April 12 April 19 April 26 With his characters quickly evolving 8:20pm 7:00pm 7:00pm 9:55pm 7:00pm 7:00pm 7:00pm 7:00pm beyond initial comparisons to the WHY WORRY? desires: the THE WILD PARTY WORKING GIRLS CHRISTOPHER STRONG cinema of joel FARGO NO COUNTRY FOR OLD MEN BLOOD SIMPLE. tragicomic work of Fred Newmeyer and Sam Taylor Dorothy Arzner (1929) Dorothy Arzner (1931) Dorothy Arzner (1933) Walter Hill (1978) Joel Coen (1996) Ethan and Joel Coen (2007) Joel Coen (1984) and the deceptively athletic and (1923) 63 mins Unclassified, all ages† 77 mins Unclassified 15+* 77 mins Unclassified 15+* 78 mins PG 91 mins M 98 mins MA 122 mins MA 99 mins R soulful Buster Keaton, Harold Lloyd In this under-appreciated clas- films of dorothy and ethan coen (1893–1971) was a genius of physical The “It” girl talks in this compassion- Like Sex in the City set in the Great Arzner’s sleek, deco-modernist fable Although the career of Walter Hill Hill’s lean, iconic neo-noir was a Based entirely in fiction, despite what In this dark, brutal and unsettling Starring Dan Hedaya as a sleazy saloon sic, Lloyd steps out of his famous comedy whose bespectacled go-getters ate, “spirited analysis of the pitfalls Depression, Arzner charts the adven- about the taboos, temptations and (1942–) is most commonly identified significant influence on the work Befitting the unique nature of their its opening credits claim, the Coens’ contemporary neo-, an oppor- owner and Frances McDormand, in her “speedy” go-getter character and arzner perfectly embody 1920s America’s bold of gendered conformity” (Kevin tures of two Indiana sisters who come fatal perils of female independence, with the series of postmodern genre of and Nicolas collaboration, no other contemporary masterpiece sees a heavily pregnant tunist (Josh Brolin), a remorseless screen debut, as his wife, the Coens’ into the role of a wealthy hypo- aspirations. A powerful example of an Hagopian). Silent superstar Clara to searching for work, ambition and sexual identity stars films he made in the 1980s (such as Winding Refn while itself paying Hollywood filmmakers have an oeuvre police chief (Frances McDormand) killer () and a world- debut feature borrows heavily from chondriac travelling to the tropical This season is presented in independent artist, Lloyd formed his Bow stars in Paramount and Arzner’s love and the right man. This subver- in her second ), and reached a commer- loving homage to Melville’s Le more idiosyncratic yet difficult on the trail of an extortion scheme weary lawman (Tommy Lee Jones) are classic iconography while “El Paradiso” to relax, yet finding collaboration with the Melbourne own production company in 1924, and first talkie as the most popular party sive, gendered view of marriage, screen role as a slim-hipped, strik- cial peak with the production of 48 samouraï and Raoul Walsh (who to define than that of the singular set up by a car dealer (William H. involved in a game of cat and mouse staking out territory all its own. himself in the midst of a revolution. Queer Film Festival. his formal and technical innovations girl in a women’s college dorm full work, class and the social typing of ingly costumed aviatrix (check out Hrs. in 1983, his influential work in approved of the script prior to produc- writer/director/editor entity formed Macy) and fatally botched by his inept across the lonely hotels and arid land- Twisting this material into a menac- Lloyd’s meticulously designed gag (such as the trick perspective used of high-spirited flapper co-eds. The “good” and “bad” girls based on a play her moth costume!) and member of the 1970s presents a leaner and more tion). An unnamed driver (Ryan O’Neal) by brothers Joel (1954–) and Ethan hired goons (Steve Buscemi and Peter scapes of the Texan desert. Largely ing Texan nightmare – brilliantly sequences and sly lampooning of Dorothy Arzner (1897–1979) is for the iconic clock scene from Safety film’s critical and box-office success co-written by Vera Caspary (Laura) parliament who falls in love with a classical approach to genre. Hill began steals fast cars to use as getaway vehi- Coen (1957–). Growing up in suburban Stormare). Turning the brothers’ devoid of music and dialogue yet with rendered by Barry American life still dominate even arguably the woman with the Last!) would go on to inspire many confirmed Arzner’s career as a direc- was described by Arzner authority married man (Colin Clive). Loosely his Hollywood career as an assistant cles in a series of audacious LA heists, Minneapolis, Minnesota, the Coens Midwestern home state of Minnesota some pitch-perfect witticisms and Sonnenfeld – this early work already when faced with a foreign “exotic” longest continuous career as a others in the industry. Here is a joyful tor of A-list contemporary melodra- Judith Mayne as perhaps the director’s based on the career of flier Amy director on films like The Thomas while an egocentric cop (Bruce Dern) would remake movies they saw on TV into a stage for its interlocked plots faultless sound design, the Coen broth- demonstrates the Coens’ flair for culture. Containing early exam- director in classical Hollywood. tribute presenting three of the 12 mas and breezy social comedies as well “most daring and innovative film.” Johnson, it features a soaring score Crown Affair before quickly establish- doggedly tracks him down. Featuring with neighbourhood kids and a Super and deeply layered character details, ers’ multi-Oscar-winning adaptation working playfully with genre. Neon ples of the surreal madcap humour From early stints as a typist, features he made in the 1920s includ- as a specialist in star-making vehicles With Judith Wood, Dorothy Hall and by Max Steiner and acting support ing a formidable reputation as a writer some of the greatest car chases ever 8 camera. This can-do attitude led the film gained entry into the US of Cormac McCarthy’s devastating signs and car headlights bleed into a subsequently popularised by the editor and screenwriter she went ing two of his most indelible efforts, for up-and-coming actresses. With Paul Lukas. from the wonderful Billie Burke. of terse, downbeat, stripped back crime put on film, Hill’s streamlined cult the brothers to funding their debut National Film Registry in its first novel demonstrates their formal simmering undercurrent of dark- Marx Brothers in Duck Soup, it also on to direct 16 features in about as Safety Last! and The Freshman and the , Marceline Day and movies like Hickey & Boggs and The movie has emerged as one of the key feature Blood Simple., a taut and often year of eligibility – cementing its brilliance. A piercing meditation on ness and dust in this tale of adultery, provided the blueprint for Woody many years, a record still unri- 35mm print courtesy of the UCLA Film and Print courtesy of the National Film and Why Worry Getaway works of ’70s genre cinema, revelling hilarious homage to film noir by way widely underrated ? valled by any female director Jack Oakie. Television Archive. Sound Archive, Australia. (he was also one of the produc- reputation as an essential modern mortality and the eternal struggle revenge and manic obsession scored by Allen’s Bananas many decades later. Alien in a cool and remarkably atmospheric of Americana, by screening a self- working in Hollywood. Renowned 35mm print courtesy of the UCLA Film and ers of later in the decade). The classic. between good and evil. With Woody the great Carter Burwell. Television Archive. Screening to be introduced 8:30pm group of films Hill made between 1975 vision of the nocturnal city. With made and self-acted trailer to poten- Harrelson. as a star-maker of up-and-coming 35mm print courtesy of the National Film and 7:00pm by Eloise Ross (President and co-curator of the MERRILY WE GO TO HELL and 1980 after switching to directing, and . tial private investors. Throughout 8:50pm 9:35pm actresses, Arzner directed Rosalind Sound Archive, Australia. SAFETY LAST! Melbourne Cinémathèque). Dorothy Arzner (1932) taking in Hard Times, The Driver, The the 1990s their multi-layered 9:15pm BARTON FINK THE FRESHMAN Russell, Katharine Hepburn, Ruth Fred Newmeyer and Sam Taylor (1923) 77 mins Unclassified 15+* Warriors and the elegant Western, The 8:45pm reinterpretations of classic American TRUE GRIT Joel Coen (1991) Fred Newmeyer and Sam Taylor Chatterton, Maureen O’Hara and the 8:50pm 67 mins Unclassified, all ages† 8:55pm Long Riders HARD TIMES genres – the crime drama in Miller’s † young Lucille Ball in breakout roles. , represent one of the most RAISING ARIZONA Ethan and Joel Coen (2010) 116 mins M (1925) 76 mins Unclassified, all ages DANCE, GIRL, DANCE Arzner regular Fredric March stars Walter Hill (1975) Crossing and Fargo; the screwball Then, although driven out of feature underrated contributions to that most Joel Coen (1987) 110 mins M A classic of American social comedy, Dorothy Arzner (1940) as dissolute writer Jerry, wooing and The Coens’ unclassifiable portrait of Lloyd’s dopey freshman is deter- storied of decades and betray the deep 93 mins PG comedy in The Hudsucker Proxy; the 94 mins MA Lloyd’s most famous work appears production by the early 1940s (and * wedding Joan, a naïve young socialite An elderly woman recites from early 1940s Hollywood is one of their mined to be popular in this classic 89 mins Unclassified 15+ influence of classical directors such as slacker detective movie in The Big today as a singularly lucid encapsu- for decades largely forgotten), she played by Sylvia Sidney whose marital Hill’s debut feature is a wonder- Already demonstrating their memory a formative experience of her boldest and most intoxicating works. tale of an awkward misfit who Arzner’s masterpiece is a hard-hit- Raoul Walsh and Howard Hawks. This Lebowski; and the complete decon- lation of the hopes and depredations carved a new career in the late ideals crumble as her husband reverts fully atmospheric and physically diversity, the Coens’ second feature youth: an elegiac tale of bungled retri- A successful New York writer (John falls in love with his landlady’s ting, Code-stretching backstage program presents Hill’s remarkable struction of convention in Barton Fink of early modernism. Trading off his as a pioneer film production to his self-loathing nature. Arzner robust portrait of a freight car-hop- provides a striking contrast with bution in the Old West. This measured, Turturro) travels west to work for a daughter. Amidst a slew of classic musical featuring a budding ballerina first two films and showcases their – coupled with a focus on society’s image as the quintessential American educator. Rediscovered during the cannily reverses her usual barracking ping drifter (Charles Bronson) who Blood Simple droll exercise in genre filmmaking Hollywood studio but is plagued by his college archetypes and situations, wonderfully lived-in sense of genre, outsiders (gangsters, female cops, their debut, . In this “working man,” Lloyd’s bespectacled, feminist reappraisal of classical (Maureen O’Hara) who goes to work in for working-class women’s upward becomes involved in the brutal world is not a remake of the 1969 Henry raging neighbours, the balmy temp- this simple narrative enables place and movement. The two films private detectives, screenwriters), inversely upbeat yet original portrait go-getter persona substitutes the Hollywood in the 1970s by writers a burlesque show alongside a brassy mobility by sympathetically looking of bare-knuckled boxing. Betraying Hathaway Western starring John tations of LA and a truly frightening Lloyd’s inventive physical comedy also feature key performances by rightfully earned them their status as of blue-collar America, a newlywed inspired models of Keaton and Chaplin such as Pam Cook, Claire Johnston stripper played by Lucille Ball (in a at the coddled worldview of high soci- the core influence of Hill’s previous Wayne as Rooster Cogburn but an case of writer’s block. This Palme to be strengthened by a genuinely several iconic male actors of the decade “the doyens of American independent ex-con (Nicolas Cage) and ex-police- for a harsher, more existentialist and Judith Mayne, and now seen as a film-stealing performance). This is a ety’s young women. Features an early collaborator, Sam Peckinpah, this entirely new adaptation of Charles d’Or-winning opus is one of the Coens’ sympathetic persona. Lloyd’s biggest including Charles Bronson, Ryan cinema” (Lloyd Hughes). Tellingly, the woman (), realising they approach to physical comedy. Radically key early queer filmmaker, Arzner’s feminist cult classic not only because performance by . bruising but soulful film carves Portis’ extraordinary novel. The Coens most audacious, fevered and literary box-office hit was also a peak in his O’Neal, James Coburn and Bruce Dern. brothers had their biggest commercial can’t conceive, kidnap one of a set of and profoundly de-centring Lloyd’s films appeal today as much for their of Arzner’s incisive direction but also out its own mood and strikingly artistic career. It also illustrates his 35mm print courtesy of the UCLA Film and success in the new millennium twist- quintuplets born to a local furniture abandon the more macho and bloated works, drawing on a cacophony of subversive interrogation of women’s for the famous, male-gaze defying presence, the film emphasises the Television Archive. taciturn, spare approach to action tycoon. Mixing , tone of the original film adaptation, influences from William Faulkner, influence on the rest of Hollywood, scene where O’Hara speaks back to ing the most American and outcast ways modern city life enforces social communal relationships, sexual and genre. Shot on location in William Faulkner, Looney Tunes, Mad opting to revive the humour, ornate Clifford Odets, and where the number of films using this an all-male audience. The film also of genres, the Western, in No Country mobility through its control of space – identities, transgressive desires Louisiana, and pungently set during Max The Night of the Hunter spoken language and strangeness Nathanael West to setting – including Buster Keaton’s for Old Men (for which they won Best , and the a sobering, very 21st century notion. and social stereotypes as for their features supple, gritty camerawork the Great Depression, it remains one of College Picture, Best Adapted Screenplay Bible, the film is held together by a of the source material. With Jeff wrestling pictures. It features vivid in 1927 – increased exponen- drop-dead wit and playful gusto. by and a support cast Bronson’s greatest films and features and Best Direction Oscars) and True genuine love for its oddball charac- Bridges, , Josh Brolin and performances by Steve Buscemi, Judy tially in the following years. This season features a selection of including Louis Hayward, Ralph a marvellous support cast including Grit. After a career spanning over ters and an extraordinary cinematic Hailee Steinfeld as Mattie Ross. Davis and the inspired John Goodman. Arzner’s long unseen early sound Bellamy, and the indomitable Maria James Coburn, Strother Martin and three decades, where one Coen’s work energy. It also features John Goodman features resolutely created in the Ouspenskaya. Jill Ireland. ends and the other’s begins is still an in the first of his many collaborations pre-Code era, alongside a couple of 35mm print courtesy of the British Film enigma, but what remains clear is the with the brothers. her most iconic works: the strik- Institute Archive. wit, beauty, humour and sadness of ingly designed, bracingly “modern” 35mm print courtesy of the National Film and the misfit-filled worlds their films Sound Archive, Australia. and sometimes fevered Christopher present. This season profiles many of Strong; the indelible and intermit- their greatest films ranging across tently frank feminist cult classic, the breadth of their career from Blood Dance, Girl, Dance. Simple. to their richly atmospheric adaptation of Charles Portis’ True Grit. may 10 water rites: a may 17 may 24–june 7 june 14–28 7:00pm collaboration with the human films from the ALTERNATIVE VISIONS: SHORT “build my : FILMS FROM THE MELBOURNE FILMMAKERS’ CO-OP (1970–1975) rights arts & film festival co-ops part 2: 118 mins Unclassified 15+* gallows high”: the period films A selection of four short works 7:00pm May 24 May 31 June 7 June 14 June 21 June 28 melbourne screened at the Melbourne , of eric rohmer REDES 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm Filmmaker’s Co-Op reflecting the Emilio Gómez Muriel THE NIGHT OF THE HUNTER WHERE DANGER LIVES OUT OF THE PAST PERCEVAL THE ROMANCE OF ASTREA political, social, cultural and sexual hollywood’s and Fred Zinnemann (1936) Charles Laughton (1955) (1950) Jacques Tourneur (1947) Eric Rohmer (1978) Eric Rohmer (2001) AND CELADON preoccupations and affiliations of 65 mins Unclassified 15+* 92 mins M 82 mins Unclassified 15+* 97 mins PG 140 mins PG 129 mins PG Eric Rohmer (2007) the organisation. The program begins hardboiled soul 109 mins Unclassified 15+* “Artists and creatives have always This pearl of dramatic concision is This program presents key works with Barbara Creed’s Homosexuality; A This massively influential one-of-a- Mitchum gets a chance to play against Daniel Mainwaring adapts his own The most sublime, articulate, guarded Rohmer adapts Chrétien de Troyes’ With this lush tale of a British been at the vanguard of social one of the great works of galvanising made by filmmakers associated Film for Discussion (1975), a ground- One of Hollywood’s favourite antihe- kind dreamlike horror movie stars a type as a stable citizen-doctor in this pseudonymous novel about a man and grounded filmmaker of the mediaeval epic poem about the epon- woman in trying to survive Richard Brody described Rohmer change – we rely on them to hold a agitprop filmmaking. A swift-paced with the Melbourne Filmmakers’ breaking work dispelling myths about roes, Robert Mitchum (1917–1997) had truly frightening and mesmerising lurid RKO noir. Australian director (Mitchum) who can’t seem to escape nouvelle vague, Eric Rohmer (1920– ymous Arthurian knight (played by in the wake of the , as “a true classicist… linking his mirror to the uneasy truths of our narrative of the political awakening Co-operative in the 1970s, touching homosexuality and featuring candid a natural talent for the screen, but he Mitchum as a serial wife-killing “Farrow nicely hits the nightmar- his past. Featuring an elegant flash- 2010) was also a key figure in French Rohmer regular ) and Rohmer returned to period drama films with the grand traditions of times and reflect our stories,” the of a group of poor and disenfranchised on an alternative history of film- testimony from homosexual men and also brought the dignity of his learned preacher chasing a pair of homeless ish, hallucinatory qualities” as a back structure, a doomed hero, a venal film culture in the 1950s and his quest for the Holy Grail. An aston- for the first time since his 1980 TV precinematic art.” In the director’s Human Rights Arts & Film Festival’s Mexican fisherman, the film is the making, distribution and exhibition women as well as their parents. It craft to each role. Starting his film children across an eye-popping 1930s concussed Mitchum and the obliga- gangster () and – of course both as an editor of ishing departure in style from one of movie, Catherine de Heilbronn. An final film, made at the age of 87, this mission statement reads. The same collaborative fruit of Gómez Muriel across this rich period and covering also includes photographer Sue Ford’s career as an extra and then working American Gothic landscape. Actor tory femme fatale, played by Faith – Jane Greer playing a femme as fatale and as a seminal auteurist critic. French cinema’s great naturalists, the expensively mounted experiment conjoining finds its purest expres- reasoning and commitment could and Zinnemann (The Sundowners, films of political activism, social Woman in a House (1972), an impres- his way through a number of minor Laughton’s only film as director Domergue, “barrel down the dirt roads as any in cinema, it’s shot by Nicholas Founded in painterly, philosophi- film is staged and shot as if Rohmer with digital video utilising painted sion in an adaptation of Honoré be said to underlie the Melbourne From Here to Eternity), the great protest, personal expression, satire, sionistic study of a young married Westerns and war movies before his (James Agee’s pungently literary of southern [amid] some of Musuraca as if “black is the new cal and literary principles of serial wanted to recapture the medieval backdrops against which the actors are d’Urfé’s period novel. Echoing the Cinémathèque’s undertaking to photographer Paul Strand and sexual liberation, queer identity and woman isolated in her Melbourne breakthrough Oscar-nominated role script is adapted from Davis Grubb’s the bleakest scenery America has to black” and boasts an endless stream of composition, endlessly subtle varia- viewing experience. Rhyming couplet superimposed, its complex narrative most graceful and elegant features screen significant and provocative composer Silvestre Revueltas (Aaron technological and cultural change (it home; Ivan Gaal’s lampoon of TV as a in Wellman’s Story of G.I. Joe in 1945, striking novel) is a truly remarkable offer” (Dave Kehr). Veteran screen- quotable, hardboiled dialogue (“Build tion, moral inquiry and the ethics of dialogue, rudimentary props and arti- of romance and high-stakes politics of 17th and 18th century French works from the complete history Copland favourably compared his score follows a program devoted to Sydney’s brainwashing medium featuring Max Mitchum’s bitter, sardonic, world- mix of the archaic and visionary, the writer Charles Bennett, known for my gallows high, baby”). Tourneur being human, Rohmer’s candid and ficial sets, planimetric compositions highlights Rohmer’s slyly conserva- art and literature, Rohmer retells of world cinema; from the earliest to Shostakovich’s cinema work). With Co-op screened in 2015). Although Gillies, Applause Please (1974); and weary, pulp-existential persona artificial and naturalistic, expres- his work with Hitchcock and Jacques brings B-movie style and soul to an wonderfully talkative films often and a highly demonstrative approach tive tendencies. Stylised performances a fable of shepherds, nymphs and silent films to recent digital exper- a non-professional cast, it represents a Melbourne’s Co-op was short-lived, Flux (1970), Peter Tammer’s personal found its perfect match in the string sionism and American primitivism. Tourneur, inflects the requisite “A” picture and delivers, perhaps, the make art look and feel so artless, and to acting combine to produce a by Lucy Russell in the title role and bucolic idylls that parlays anew imentations, cinema is a bellwether crucial precursor to neo-realism. beginning in 1970 and ceasing oper- diary film contrasting the comfort- of noir protagonists he played in the Once banned in Australia, it features darkness with an absurdist screwball archetypal film noir that – like its realism seem like simplicity itself. quasi-theatrical, yet richly cinematic Jean-Claude Dreyfus complement the his constant theme of romance able suburban life of his family to of our connection to and direction Restored in 2009 by The Film Foundation’s ation in 1977 after the withdrawal late 1940s and early 1950s (Out of the extraordinary performances by edge. With and Maureen anti-heroine – is beautiful, seductive Rohmer is now most widely celebrated naïveté. conscious artifice of the mise en scène. complicatedly pursued. This comic in the world. In a continuation of World Cinema Project at Cineteca di . of the Australian Film Commission’s that of his father-in-law, an Austrian Past, Where Danger Lives, Angel Face Shelley Winters and Lillian Gish O’Sullivan. and “a little cold around the heart.” for the loose series of films he made pearl existing entirely outside of Jew who emigrated to Australia after an important partnership formed funding support, it was a culturally and Walsh’s noir Western, Pursued). alongside some of the cinema’s most 35mm print courtesy of the National Film and 35mm print courtesy of the British Film between the late 1960s and 1990s 9:30pm 9:20pm cinematic trends was lushly filmed in 2014, this screening profiles 8:20pm and socially significant entity that World War II. While it was the dark humour and indelible images (shot by Stanley Sound Archive, Australia. Institute. devoted to “moral tales,” “comedies DIE MARQUISE VON O in Auvergne. cinema as a truly global art form. A RIVER CALLED TITAS supported the city’s burgeoning With the exception of Woman in a House, fatal resignation of noir that led him Cortez). and proverbs,” and “the four seasons,” Eric Rohmer (1975) Eric Rohmer (2004) * It features two films restored by Ritwik Ghatak (1973) independent film culture and drew prints for these films are courtesy of the to fame, he had a range that took him 35mm print courtesy of the UCLA Film and 8:35pm 8:50pm incorporating such renowned works 102 mins M 113 mins Unclassified 15+ 9:00pm Martin Scorsese’s World Cinema 159 mins Unclassified 15+* on the work of a range of significant National Film and Sound Archive, Australia. beyond the Western, war picture Television Archive. HOME FROM THE HILL THE SUNDOWNERS as My Night at Maud’s, Claire’s Knee CATHERINE DE HEILBRONN Screening to be introduced by Professor Finding a way to redeem but not This morally complex and fascinat- Project which is “dedicated to filmmakers, cultural commentators, and melodrama, and into a league of Vincente Minnelli (1960) Fred Zinnemann (1960) and Le rayon vert, but he also made a Eric Rohmer (1980) This multi-faceted “network Barbara Creed. condone the “baldly offensive” ingly dizzy tale of double and triple * preserving and restoring neglected curators, actors and technicians. his own. A man of contradictions, he 8:45pm 150 mins PG 133 mins G collection of fascinating and often-au- 138 mins Unclassified 15+ narrative” set in 1930s Bangladesh proposition of ’s agents in late 1930s and early 1940s films from around the world.” The These included seminal figures such was both laconic and firmly spoken, PURSUED dacious period films across his career examines the intertwining lives and 9:20pm Mitchum stars as a wealthy, domi- Zinnemann’s exquisitely nuanced novella, Rohmer’s first historical France provides a rich canvas on The third of Rohmer’s period films is screening begins with Emilio Gómez as documentarian Peter Tammer, film sensitive and hardboiled, dismissive Raoul Walsh (1947) that reflect his broader interests in fates of people who live amongst the COME OUT FIGHTING neering landowner who shows little pastoral “Western” highlights the drama explores the consequences which Rohmer can paint a potent an austere but gorgeous adaptation of Muriel and Fred Zinnemann’s truly essayist and historian John Hughes, of his craft and dedicated to the art 101 mins G history, teaching, politics, literature Nigel Buesst (1973) when a count () violates the yet teasingly oblique socio-political Heinrich von Kleist’s (Die Marquise committed and proto-neo-realist fisheries on the River Titas. Dedicated soon to be celebrated feature director of acting, and he could play villain respect for his wife (Eleanor Parker) trials, tribulations and everyday and the key motivations of human 50 mins R Rohmerian principle of restraint over portrait taking in the , von O) popular 1810 play about a docu-drama of fishermen trying to to “the myriad of toilers of everlasting Phillip Noyce, acclaimed photographer or hero with equal vigour. His tough This is, quite simply, one of the most or anyone else in this searing decon- joys of a typical family wandering behaviour as reflected in the works Bengal,” Ghatak’s critically acclaimed remarkable of Westerns, a dark, struction of oppressive patriarchy the Australian countryside in the desire and rapes the title character the , the legacies of beautiful armourer’s daughter survive and make a living on the Sue Ford, film theorist and academic With bold colour, harsh sound and onscreen presence was bolstered of such writers and philosophers as film is a beautifully detailed and stylised Freudian revenge melodrama in mid-20th century America. Shot 1920s. Based on Jon Cleary’s massively (played by Edith Clever) while she is Tsarist , and the Nazi occupa- (Pascale Ogier) who becomes infatu- Gulf of . Beautifully shot by Barbara Creed, groundbreaking heavy blows, Buesst’s film is a raw by a youth spent on a chain gang Chrétien de Troyes, Heinrich von epic social melodrama incorporating shot partly in Monument Valley, largely on location in Mississippi and successful 1952 novel, this lovingly unconscious. Although the Marquise’s tion. As in The Lady and the Duke, ated with a knight, leaves home, and photographer Paul Strand it was Aboriginal director Bruce McGuiness, and fascinating insight into the and as a boxer, early scandals as a Kleist, Honoré d’Urfé and Blaise elements of bildungsroman, synthe- enlivened by Walsh’s taut direction Texas, this portrait of the South is rendered portrait of the enduring ultimate decision to forgive him Rohmer explores momentous histori- has to compete with a jealous rival the first complete film directed by radical provocateur Ivan Gaal, comic ethics and aesthetics of low-budget Hollywood star, and yet he balanced Pascal. This season of imported prints sised into a restless whole through the and superbly shot, with low-key noir both authentic and literary in its aspi- bonds of marriage and the itiner- becomes the film’s moral pivot, it cal events through peripheral figures (Arielle Dombasle) for his affections. Zinnemann, an Austrian-born film- actor Max Gillies, and a stellar array 1970s Melbourne filmmaking. A this hardened experience with a incorporates all of the period-based bold use of mise en scène and eruptions lighting, by . In rations, capturing wide natural vistas ant life of droving and shearing is does not indicate her submission to who cast a troubling light on expected Based on Rohmer’s theatre adapta- maker who would go on to a stellar of international figures such as Emile young Aboriginal fighter, played by seductive delicacy. With a distinctive fiction features directed by Rohmer of tense Soviet-style montage. Based this fevered Greek tragedy-infused and claustrophobic interiors steeped undoubtedly the best of a series of patriarchal domestication. Rightly and accepted allegiances. “The sheer tion, and made for French TV, this career as a socially and politically de Antonio. trained boxer Michael Karpaney, is Connecticut elocution, a strong but including his stunning digital take on the autobiographical novel by Western scripted by Niven Busch in a lonely domesticity. As a bold and international films shot in Australia seen as one of Rohmer’s greatest films, classical purity of Rohmer’s narrative is a typically shrewd, ethically progressive director in Hollywood torn between his career, his mates and weary gait, and a little known flair on the aftermath of the French Advaita Mulya Barman. This program is co-curated by John Hughes and (The Furies), Mitchum is extraordi- troubling study of masculinity, and in the post-war era. The earthy and it marks a turning point between his and images is both beautiful and brac- complex and self-consciously staged (The Seventh Cross, High Noon, Julia). Adrian Danks. the demands of a group of students for calypso music, Mitchum created Revolution, The Lady and the Duke, the nary as the victim of a traumatic but a “cauldron of crucial, furious, and bracingly matter-of-fact perfor- Six Moral Tales and Comedies and ing” (Geoff Andrew). attempt to explore the courtly The program concludes with the Restored in 2010 by The Film Foundation’s campaigning for Aboriginal rights. – and embodied – some of the most labyrinthine pre-war tale of repressed childhood memory that unresolved passions” (Richard Brody), mances by Deborah Kerr and Mitchum Proverbs series. rituals, knightly spectacle and daily beautiful and heartbreaking A River World Cinema Project at Cineteca di Bologna. Featuring uniformly fine perfor- famous and indelibly male charac- and lost identity, Triple Agent, and drives him to kill. Co-stars Teresa this is a key work in both Mitchum (in a performance widely considered realities of Kleist’s medieval tale. Called Titas, an epic social drama of mances, the film’s greatest asset is its ters in cinema. A highly respected the series of works made in the mid to Wright, Judith Anderson, Dean Jagger, and Minnelli’s careers. With George amongst his best) perfectly ground the the everyday lives of people living on unflinching and unsentimental gaze professional, Mitchum’s screen career late 1970s that adapt the significant Harry Carey Jr. and Alan Hale. Peppard, George Hamilton and Everett film’s emotional authenticity. With the River Titas directed by one of the on the difficulties a blackfella must spanned over five decades. This season work of Kleist and includes one of the Sloane. Peter Ustinov, Glynis Johns and Chips towering figures of Bengali cinema, face in Australian society. Print cour- highlights several of Mitchum’s key 35mm print courtesy of the UCLA Film and director’s key films, Die Marquise Rafferty. Ritwik Ghatak. tesy of the National Film and Sound earlier lead roles, and some of his best Television Archive. 35mm print courtesy of the British Film von O, as well as the joyous artifice of Archive, Australia. Preceded by Sue known performances from the peak of Institute. 35mm print courtesy of the National Film and Chrétien’s medieval epic of the search Ford’s Time Changes (1978) 25 mins his stardom in films such as Out of the Sound Archive, Australia. for the Holy Grail, Perceval. Unclassified 15+*. Ford’s bracingly Past, The Night of the Hunter, Home intimate and reflexive documentary From the Hill, and the Australia-set on time and change was filmed over and shot The Sundowners. four years and focuses on a small group of male filmmakers and close friends.

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Lorenzo Rosa ABN 59 987 473 440 Membership Officer: Apt. 1104, Michael Koller Manchester Unity Building, PCF: 220 Collins Street, Mollie Cowell Melbourne VIC 3000 senses of cinema 100% Pole & Line www.melbournecinematheque.org melbourne july 5–19 dreams july 26 august 23– cinémathèque of everyday life: lubitsch: the september 6 the quixotic chaplin touch shock troops: screenings cinema of July 5 July 12 July 19 What did Hollywood’s pre-emi- 8:35pm the films of August 23 August 30 September 6 7:00pm 7:00pm 7:00pm nent observer of social mores learn A WOMAN OF PARIS: 7:00pm 7:00pm 7:00pm hirokazu koreeda AFTER LIFE NOBODY KNOWS from the master of pathos-drenched A DRAMA OF FATE STARSHIP TROOPERS FLESH+BLOOD BLACK BOOK Hirokazu Koreeda (1995) Hirokazu Koreeda (1998) Hirokazu Koreeda (2004) slapstick? This program explores the Charles Chaplin (1923) Paul Verhoeven (1997) Paul Verhoeven (1985) Paul Verhoeven (2006) 110 mins Unclassified 15+* 118 mins Unclassified 15+* 141 mins M little-known connections between the 78 mins PG 129 mins MA 126 mins R 145 mins MA work of Charlie Chaplin (1889–1977) “They compare me to Ozu but I think This delicate yet profound contempla- Koreeda’s second major dramatic Koreeda’s incisive examination of A commercial failure on its initial Sex and violence… and giant alien Reviled by many upon release as Set in early 16th century Italy, Verhoeven’s belated return to Dutch and (1892–1947). The my work is more like Mikio Naruse tion of the search for meaning in the feature, and his most fondly remem- the family unit continues in this release, Chaplin’s bold and subtle bugs. The career of Dutch director Paul an exercise in “fascist camp,” this Verhoeven’s first English-language filmmaking is both a full-bore two directors were friends and, before or .” Initially an aspiring flux of life and death contains a deeply bered work, is an experiment in deeply affecting and memorable film romantic drama is now widely Verhoeven (1938–) has been nothing incendiary satiric masterpiece based film is a morally ambivalent co-pro- World War II action-thriller and its release, Chaplin showed Lubitsch novelist, Hirokazu Koreeda (1962–) affecting performance by Makiko documentary and narrative form set based on a real case of four abandoned regarded as one of the key works of if not controversial. The director, on Robert A. Heinlein’s 1959 novel duction bathed in brutality and deceit. a morally ambiguous revisionist a rough cut of A Woman of Paris: A began his career in documentary, Esumi as a remarried widow coming in a supernatural limbo between life children who lived unnoticed in a his long career. This sophisticated, whose view of the world was shaped now seems like the defining film of Featuring a glorious Rutger Hauer as a history lesson. Carice van Houten Drama of Fate, an atypical Chaplin making three films in this mode to terms with her grief among a small and death, imagined as a crumbling, Tokyo apartment for months. While groundbreakingly complex drama by the Nazi occupation he witnessed as the Fox News era. Verhoeven fuses a barbaric mercenary set on vengeance, (Game of Thrones) plays, with film in that it is neither a comedy before rising to prominence with coastal community. Koreeda’s debut medical-style bureaucracy complete the days drag on, Koreeda’s camera of manners involves a French girl a young boy, attained critical success complex reverence for the codes of and shot in by regular cinema- charismatic gusto, the central role (its subtitle should be regarded in Maborosi, a delicate and universally fiction feature bears all the hallmarks with jaded officials and orderlies. In stays close to the children, focusing on (Chaplin favourite Edna Purviance) with his second feature, Turkish Western pop genres with a caustic tographer Jan de Bont, Verhoeven’s of a Jewish chanteuse hired to use earnest) nor features its director praised drama widely compared to of his signature Ozu-like humanism, this world, each intake of the deceased their habits, mannerisms and games, who, due to a misunderstanding, fails Delight. Verhoeven soon turned to the examination of the self-deluding opus is marked by a potently lurid her wiles to infiltrate the German onscreen (other than in a very brief the work of Yasujiro Ozu (a critical restraint and insight. Winner of the is required to select a single - and drawing the audience into their to marry her sweetheart and ends up examination of sexuality and cruelty myths of US imperialism, rendered in sensibility, strikingly vivid violence command in The Hague. The direc- cameo). Working on his breakthrough analogy that has persisted to this Golden Osella for Best Cinematography ished memory that they will relive world. This extraordinary portrait of in Paris as the mistress of a perennial he would become infamous for. His terms that offer a thrilling riposte to and a profound sense of chaos. Written tor’s typically uninhibited approach American film The Marriage Circle day). Whilst Koreeda’s films bear at the , this film for eternity as they pass into the after childhood is full of emotional nuances sophisticate (Adolphe Menjou). One of 1980 feature Spetters was picketed for today’s more formally and politically with longtime co-writer Gerard to sex and violence leaves no parties around the same time, Lubitsch clear and positive similarities to launched Koreeda as a major interna- life. Incorporating direct-to-cam- and moments of joy, bravery and soli- only two features Chaplin directed its representation of homosexuality, conservative blockbusters. A master- Soeteman, this breakthrough film untarnished by ethical ambivalence. praised Chaplin’s film’s intelligence those of Ozu, this kind of comparison tional director of rare delicacy and era interviews, the film uses staged, darity. Yuya Yagira was the youngest and didn’t star in, it was a key influ- but it is 1983’s The 4th Man and 1985’s fully sustained work of “deep dive” provoked and challenged audiences on The Dutch rewarded this partial and sophistication, seeing it as a glosses over the remarkable idiosyn- emotional intimacy. acted and non-scripted testimonies by winner of Best Actor at Cannes for his ence on Lubitsch’s American career. Flesh+Blood that begin the director’s satire, equal parts Roy Lichtenstein its release. With , attack on themselves with box-office “great step forward.” Our program crasies of his own cinema. Whilst non-professionals to sweetly devastat- performance as Akira. sometimes inscrutable dance between and Leni Riefenstahl, media semiotics Tom Burlinson and Jack Thompson. success and multiple awards. concludes with , 35mm print courtesy of the National Film and Koreeda’s films regularly qualify as 9:00pm ing affect. Sound Archive, Australia. lowbrow plots and high-minded, even and money shots – and thunderously 35mm print courtesy of the National Film and a wildly inventive demonstration “shomin-geki” – the genre of bitter- I WISH Sound Archive, Australia. pretentious themes. This is certainly entertaining to boot. 9:15pm 9:35pm that “the Lubitsch Touch” could also sweet family drama associated with Hirokazu Koreeda (2011) 9:10pm 10:00pm true of the box-office juggernauts BASIC INSTINCT ELLE encompass broad slapstick. 35mm print courtesy of the National Film and Ozu – his families experience a more 128 mins PG STILL WALKING 9.35pm THE OYSTER PRINCESS he would make after relocating to Sound Archive, Australia. Paul Verhoeven (1992) Paul Verhoeven (2016) severe sense of irresolvable crisis Hirokazu Koreeda (2008) Hollywood in the mid-1980s. Films 108 mins R 130 mins MA Two brothers (played by actual WITHOUT MEMORY Ernst Lubitsch (1919) than that characteristic of Ozu. 115 mins G 7:00pm * such as RoboCop, Total Recall and Basic siblings Koki and Ohshiro Maeda), Hirokazu Koreeda (1996) 48 mins Unclassified 15+ 9:20pm Working off a script by Joe Eszterhas This daring and provocative come- Whilst Ozu’s families are frequently * THE MARRIAGE CIRCLE Instinct are exercises in genre that separated by their parents’ divorce, This universally celebrated film 75 mins Unclassified 15+ ROBOCOP (who’d later birth Showgirls), dy-thriller portrays a woman’s haunted by the spectre of deceased Ernst Lubitsch (1924) This exuberant, extravagant romp weave in social and political messages begin believing in the mysterious places Koreeda directly alongside Paul Verhoeven (1987) Verhoeven’s brashly excessive mise unpredictable and eccentric reaction parents and spouses, Koreeda’s films This documentary tells the story of 85 mins Unclassified 15+* represents the director’s famous at the level of action, titillation and wish-granting power of a new bullet- such Japanese masters of the domestic 102 mins M en scène pushes the clichés of this to being raped in her home by a feature more disturbing “absences,” Hiroshi Sekine, a family man who, “touch” in its earliest embryonic suspense. Yet even Verhoeven’s apol- train line linking their two towns. drama as Naruse and Ozu (though Lubitsch’s breakthrough American erotic thriller’s narrative to the masked assailant. Verhoeven’s latest often the result of wilful violence, after a botched medical procedure, incarnation. In true screwball style, ogists would go on to wonder at the Verhoeven’s second major inter- Continuing Koreeda’s preoccupation its depiction of family is markedly film established the sophisticated point of transcendence. Referencing film subverts all expectations of including suicide, murder, separa- suffers from Wernicke encephalopa- the film is laden with mistaken director’s refusal to clearly mark the national film after the Spanish- with realist family dramas, the film’s more “messy”). Created as a tribute to style and sensibility that marked Flesh+Blood everything from Hitchcock to Bart what a rape-revenge thriller should tion and abandonment. Koreeda’s thy – a condition that prevents new identities, romantic rivalries and forking paths between narrative form Dutch-US co-production narrative and dramatic emphasis Koreeda’s recently deceased mother, his greatest work in Hollywood. This Simpson, the film even employs be, touching on themes of sadomas- work reveals a concern with societal memories accumulating. Koreeda’s good-natured digs at the rich, both and intellectual content in misun- is a thinly veiled satire depicting the develop in unexpected ways that still the film depicts one day in the life of highly influential comedy of manners, ancien nouveau Persona-esque personality melding as ochism, gender relations, voyeurism breakdown and personal trauma typically muted, compassionate and . Over-the-top set derstood satires such as the sordid future corporatisation of politics and feel true to the emotional complexity the Yokoyamas, a family who gather itself inspired by Chaplin’s A Woman a San Franciscan detective (Michael and adultery with a playful and quite different from the common portrait of a man imprisoned in a pieces involving crazed foxtrots and Showgirls and the “fascist” camp of the militarisation of law enforcement. of life. Locating the true miracle in each year to mourn the drowning of Paris: A Drama of Fate and remade The Douglas) investigating the murder of a blackly comic tone. From whodunit tensions between tradition and perpetual present incorporates a multitudes of servants prefigure Starship Troopers (his masterpiece The film drew inspiration from the life’s quieter details, the film creates of their eldest son, a tragedy that as One Hour With You, fixates on the Love Parade retired rock star shifts his suspi- mystery to twisted game, the film modernity found in Ozu. Across his searing condemnation of institu- a decade later. Features a according to many Verhoeven aficio- Judge Dredd comic-book character what A. O. Scott calls “a lovely and compounds a sense of guilt, resent- flirtations, indiscretions and infi- cion between a police psychologist is full of unconventional desires, career, Koreeda has experimented tional failure without relying on winning performance by popular star nados). In the mid-2000s, Verhoeven and was produced from an original piquant examination of childhood.” ment and obligation amongst the delities of a “circle” of well-heeled (Jeanne Tripplehorn) and a seductive unlikely affairs and inappropri- with a range of genres and forms overt emotive appeal or cinematic Ossi Oswalda, a key actor in Lubitsch’s made a triumphant return to the screenplay co-written by Edward survivors. As Tony Rayns claims, the married couples in licentious Vienna. crime novelist (Sharon Stone). Hugely ate behaviour, oscillating between including magic realism (After Life), manipulation. The film’s power lies in early work, widely known as “the Netherlands with Black Book and Neumeier who would later go on to film is a milestone in Koreeda’s “jour- Lubitsch’s elegant roundelay features Starship Troopers successful, this film would earn perverse horror and wry humour. documentary (Without Memory) cinema’s capacity to present moment- German .” currently seems intent on remaking adapt Heinlein’s . ney from extreme reticence to warm knowing performances by a wonderful Verhoeven a reputation as Hollywood’s Isabelle Huppert’s fearless and and perverse romantic comedy to-moment reality, demonstrated Print courtesy of the National Film and Sound himself once more as a European Verhoeven’s breakthrough commercial engagement.” array of silent-era talent including prime provocateur. With Dorothy densely quixotic performance is (), while always returning, when confusion periodically washes Archive, Australia. . This season profiles the career film stars Nancy Allen, Dan O’Herlihy Florence Vidor, Monte Blue, Marie Malone. amongst the greatest of her career. often profoundly, to the family across the subject’s face as he forgets highlights of one of the most contro- and Peter Weller as the cyborg cop Prevost and the impossibly suave, drama, and routinely incorporating why he’s being interviewed. versial, mercurial, iconoclastic and haunted by his residual humanity. 35mm print courtesy of the National Film and Adolphe Menjou. Sound Archive, Australia. observational, handheld techniques misunderstood contemporary direc- 35mm print courtesy of the National Film and that link back to his documentary New restoration courtesy of the Museum of tors, concluding with his most recent Sound Archive, Australia. Modern Art, New York. past. This carefully selected season film, the widely celebrated Elle, a incorporates many of the director’s BREAK FOR MIFF divisive rape thriller that no one in greatest and most fondly remem- Hollywood would take on. bered films, aiming to invite a deeper appreciation of Koreeda’s specific qualities while celebrating the dynamism and range of his inci- sive and moving work. september september 27–october 11 october 18– 13–20 unruly women and november 1 delirium and undisciplined desires: stories from decadence: September 13 September 20 the sublimely September 27 October 4 Monday October 9 October 11 the outskirts of October 18 October 25 November 1 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm AURORA the giddying THE CREMATOR MORGIANA decentred visions SWEETIE THE PIANO 2 FRIENDS AN ANGEL AT MY TABLE : the THE DEATH OF MR. LAZARESCU Cristi Puiu (2010) Cristi Puiu (2016) (1968) Juraj Herz (1972) Jane Campion (1989) Jane Campion (1993) Jane Campion (1986) Jane Campion (1990) Cristi Puiu (2005) 181 mins Unclassified 15+* 173 mins Unclassified 15+* 96 mins Unclassified 15+* 99 mins Unclassified 15+* 97 mins M 114 mins MA 76 mins PG 158 mins M 153 mins M gothic cinema of jane campion dark realism of “Clocking in at an engrossing, An extended family gather in a Karl Kopfrkingl, chillingly portrayed Iva Janžurová puts in a tour-de-force Taking inspiration from the suburban Campion won the Palme d’Or for this Campion’s rarely seen made-for-TV Adapted from New Zealand author Initially pegged as a practitioner immersive three hours, the movie cramped apartment to mark the of juraj herz by Rudolf Hrušínský, is a cremator performance as twin sisters Klára A non-conformist like many of her weirdness of Lynch’s Blue Velvet and complex, romantic and unpredict- feature about adolescent life, scripted Janet Frame’s renowned and cristi puiu of social realism in line with the is a mystery about the human soul” traditional mourning ritual of wooed by in the early days of and Viktoria, the latter hell-bent on characters, Jane Campion (1954–) the themes and aesthetics of photogra- able love story, making her the only by Helen Garner, utilises the then harrowing three-part autobiography, work of other key contemporary (Manohla Dargis) and a chillingly their patriarch, where unresolved Co-presented with the Czech and the German occupation. Production of doing away with the former, in this makes intense, lyrical and, at times, pher Diane Arbus, Campion’s strangely Oceanian as well as the only female very unusual device of reverse-time Campion’s international breakthrough With an oeuvre comprising just five Romanian filmmakers, Puiu’s second elliptical depiction of a day-and-a- conflicts – political, historical, reli- Slovak Film Festival of Australia. this adaptation of Ladislav Fuks’ novel deliciously overripe adaptation of surreal films putting strong female beautiful debut feature film about director to ever do so. Set in the structuring to dissect the vicissitudes uses three actors in its portrait of the feature-length films, director Cristi feature slyly undermines such simple half in the life of a middle-aged urban gious and, most tellingly, personal was halted during the 1968 Soviet Aleksandr Grin’s 1929 novel Jessie characters front and centre. New the dysfunctional relationships of a mid-19th century, the film portrays of teenage friendship. Its narrative writer as young girl, teenager and Puiu (1967–) is one of the towering descriptions. Using the pretext of psychopath, played by the director – spill over. With more than a dozen Slovak-born Juraj Herz (1934–) invasion, further charging its already and Morgiana. With froufrou costum- Zealand-born Campion studied paint- Sydney family is told with disturb- New Zealand as a mysterious, surreal traces back five years in the lives of woman (). Condemned to figures of the . a sparse narrative – a slowly dying with calm and measured threat. Puiu fully-realised characters, the film’s remains one of the great unsung potent political undertones with an ing and opulent production design ing and anthropology, the influence ingly deadpan whimsy. Creating a and highly sensual edge of the world two school friends who are obliged, psychiatric institutions and adminis- Alongside directors such as Corneliu man is shunted, untreated, from uses the full arsenal of European art choreography of bodies, elaborate, directors of ’s “golden added horror and complementing informed by Herz’s enthusiasm for the of which can be seen in the themes, dreamlike, off-centre mood, Campion’s as a mute, determined immigrant by circumstances, to take diverging tered shock therapy, Frame narrowly Porumboiu and Cristian Mungiu, hospital to hospital – Puiu advances cinema style to maximise ambigu- seemingly haphazard sequence ’60s.” Denied entrance to Prague’s Stanislav Milota’s virtuoso expres- work of Gustav Klimt, cinematogra- emphasis and visual style of her iconoclastic visual style is already attempts to transport her revered paths. As in all of Campion’s best escaped lobotomisation when her Puiu’s Cannes-feted work epitomises formal experiments in long-take ity and unease. The bleakest streets shots, subplots, and emotional pitch storied film school FAMU, having sionist cinematography and Zdeněk pher Jaroslav Kučera has a field day filmmaking, before training at the evident as dramatic compositions and piano across a boldly unfamiliar work, meaning and emotion emerge first book won a major literary prize. the movement’s combination of art staging and extreme time disten- of Bucharest act as an apt backdrop is extraordinary. Characteristic of already studied puppetry and design, Liška’s indelible score. Preceded by with wide-angle lenses and employing Australian Film Television and Radio unsettlingly angled shots make the terrain. The result represents a peak through experiential moments Against the majesty of the New Zealand film technique with sardonically sion, slowly accreting a thoroughly for the cold narrative of imminent the Romanian New Wave that Puiu and with his greatest films emerg- Herz’s The Junk Shop (1965) 31 mins. prismatic colour effects exceeding School. Campion is widely considered ordinary seem strange. by Campion’s for its director, composer Michael captured in the flow of everyday landscape, Campion exquisitely evokes observed social realism. This near caustic, bitingly funny dissection of violence. Conceived as a grim and all but invented, precise timing and ing after the 1968 Soviet invasion, Shot in the very junk shop where even those found in his earlier films the most influential female film- An Exercise in Discipline: Peel (1982) Nyman and antipodean cinema as well life rather than through a forced or Frame’s sensitivity to the world in complete season of his films offers a the widespread social malaise that bracing counterpoint to F. W. Murnau’s pacing are achieved with minimal * he has too often been overlooked in author and co-scenarist Bohumil with . Features an eerie maker to emerge from Australasia and 9 mins Unclassified 15+ . Campion’s as its central cast featuring Holly conventional dramatic structure. all its beautiful, almost overwhelm- window into the harsh interpersonal characterises everyday life in the Sunrise: A Song of Two Humans, the editing within scenes – Puiu’s sense accounts of the Czechoslovak New Hrabal worked for seven years, Herz’s soundtrack by the brilliant Luboš remains the only woman to win the 1986 Palme d’Or-winner is a study of Hunter, Sam Neill, Harvey Keitel, Print courtesy of the National Film and Sound ing power. Lauded globally upon its dynamics of post-Ceaușescu Romanian post-Ceaușescu era. Winner of Un film further develops Puiu’s profound of rhythm combining with a stag- Wave, notwithstanding that he exuberant Pearls of the Deep episode Fišer. Palme d’Or at Cannes. Most recently discipline involving a family road trip Kerry Walker and Oscar-winner, Anna Archive, Australia. release, the film won the Grand Special society, depicted with humour and Certain Regard at Cannes. and critical examination of human geringly well-drilled cast to create directed a superb episode of Pearls heralded a singular new talent. she has worked in TV creating the and an orange peel made while she was a Paquin. Jury Prize at the Venice Film Festival. relationships in contemporary a hyper-real narrative that’s as 35mm print courtesy of the National Film Please note, this special Monday screening will sometimes-unflinching cruelty. of the Deep, 1965’s omnibus film oft Both films courtesy of the National Film Archive in Prague. extraordinary Top of the Lake series. student at AFTRS. 35mm print courtesy of the National Film and be preceded by an introductory talk on Campion 35mm print courtesy of the National Film and Beginning his career in painting, 9:45pm Romania. Dedicated to mentor and key much dance as it is drama. One of the cited as a manifesto for the nascent Archive in Prague. Campion’s films tell character-driven Both films are 35mm prints courtesy of the Sound Archive, Australia. by Professor Deb Verhoeven, one of Australia’s Sound Archive, Australia. Puiu turned to filmmaking after STUFF AND DOUGH influence Eric Rohmer, Puiu’s opus is greatest films made anywhere in the movement (even if The Junk Shop 8:50pm stories focusing on damaged women National Film and Sound Archive, Australia. leading commentators on film and media, being exposed to the cinema of John Cristi Puiu (2001) “a masterly film that draws us into last five years, it stars the extraor- Chair of Media and Communication at Deakin * was ultimately released separately) 9:20pm OIL LAMPS on the fringes of patriarchal society 9:05pm 9:50pm Cassavetes and the documentaries of 90 mins Unclassified 15+ a world controlled by unseen forces” dinary Mimi Branescu. Preceded by University and author of the groundbreaking – or that his febrile 1972 doppel- who refuse to conform. Through (Philip French). Puiu’s Cigarettes and Coffee (2004) BEAUTY AND THE BEAST Juraj Herz (1971) 9:00pm BRIGHT STAR Jane Campion published by Routledge in 2009. GIRLS’ OWN STORIES Frederick Wiseman. From the outset, Often lauded as starting the Romanian gänger fantasia Morgiana is widely * Campion’s lens the world is at once 15 mins Unclassified 15+*. Puiu’s Juraj Herz (1978) 101 mins Unclassified 15+ IN THE CUT Jane Campion (2009) Jane Campion (1983–2006) his work is pervaded by this influence New Wave, Puiu’s debut feature sees a considered the New Wave’s very last 83 mins Unclassified 15+* familiar and strange, a concrete Jane Campion (2003) 119 mins PG 84 mins Unclassified 15+* of Direct Cinema and documentary. award-winning short film also A virginal woman (Iva Janžurová) small-town slacker, Ovidiu (Alexandru gasp. Interned in the Ravensbrück reality and a visionary, hugely expe- 119 mins R His films gained festival exposure stars Branescu as a man meeting his One of two fairytales he shot simul- hopes to marry a jaded soldier in the Campion’s most recent feature is This program includes four of Papadopol), tasked with transporting concentration camp aged ten, Herz’s riential environment. Striking visual from the beginning, with Cigarettes recently retrenched father and find- taneously (the other being The Ninth Austrian army (Petr Čepek), wilfully A teacher (Meg Ryan) engages in a a “quiet” period drama about the Campion’s best short films largely a satchel of “medical supplies” to the apprenticeship in film included compositions, idiosyncratic framing and Coffee receiving the ing the generation gap is much wider Heart), Herz’s adaptation surely ignorant of the dissolute proclivi- dangerous flirtation with a homicide ultimately tragic relationship made during her playful, provocative Romanian capital. Almost everything assistant director duties on Ján and use of colour create the off-kilter for Best Short Film at the Film when it sits astride the downfall of a remains the darkest, wintriest, ties that might just be sending him detective (Mark Ruffalo) in this noir-in- between Romantic poet John Keats and truly exploratory early career. It that can go wrong does; the film Kadár and Elmar Klos’ Academy perspective and unsettling tone that Festival. The extraordinary inter- country’s politico-economic system. most fetid filmic interpretation mad and attacking his body with a flected exploration of sexual curiosity (Ben Whishaw) and his muse and includes her wonderfully strange and focusing on Ovidiu’s impatience as the Award-winning The Shop on Main have become hallmarks of Campion’s national success of Puiu’s breakout of Gabrielle-Suzanne Barbot de discomfiting wasting malady. Set, and desire based on Susanna Moore’s lover, Fanny Brawne (Abbie Cornish). droll breakthrough film, Passionless world closes in around him. Calling Street. Kadár admitted, “the foot of style. Leaving her films open to inter- film The Death Of Mr. Lazarescu in Villeneuve’s venerable fairytale. like its source, Jaroslav Havlíček’s controversial novel. Cinematographer Campion eschews the heightened Moments (1983), a series of ten to mind both the greasy, high-octane that Oscar belongs to Herz,” whose pretation, she doesn’t tell the audience 2005 was instrumental in branding Headily steeped in Gothic atmo- 1944 novel, at the very outset of the Dion Beebe fuses bright and muted melodrama and booming scores typical vignettes of superficially unremark- thrill of Monte Hellman’s Two-Lane expressionist 1968 masterpiece The what to think or feel and often the Romania as the locus of like-minded spherics, Herz’s Beauty Julie (Zdena 20th century, Herz’s sumptuous adap- colours with the seedy streets of of many period movies, while resist- able suburban life; After Hours (1984), Blacktop and the downbeat affect of Cremator would pitch Kadár and most important things in her work examining universal verities Studenková) is pitted against a most tation, enriched by “Dodo” Šimončič’s downtown in ways that ing the impulse to modernise charac- a Film Australia production about the Jim Jarmusch’s Down by Law, Puiu’s Klos’ film’s themes of the Holocaust are those left unsaid. This season within highly parochial geograph- unconventional Beast (celebrated glorious cinematography, meshes the are at once welcoming and threaten- ter psychology and sexuality, to stage investigation of a sexual harass- deadpan caper is ultimately repre- and conformism into exponentially showcases Campion’s key female-cen- ical and political situations. This ballet dancer Vlastimil Harapes) director’s love of Art Nouveau aesthet- ing and allude to the contradictions of a nuanced examination of youth and ment case; A Girl’s Own Story (1983), sentative of a Europe where the line darker comedic territory. With tred features including her theatrical masterwork and his subsequent whose tormented mien is less than ics with his peculiarly mordant female urban experience. The luminous love sincere to both the work and life a wonderful semi-autobiographical between enterprise and crime is that same year’s Soviet crushing debut, Sweetie, the rarely seen TV sparse output, planned as a series in leonine and instead inspired, one Weltanschauung. The film’s ironically sensory palette, refracted through an of Keats and Romanticism. Campion’s depiction of three teenage girls grow- profoundly blurred. of the Prague Spring demanding movie written by Helen Garner, 2 the spirit of Eric Rohmer, reinforces might surmise, by the surrealism romantic score is by Luboš Fišer. intense female gaze, is characteristic screenplay features full recitations ing up in the ’60s; and The Water Diary there be no further smuggling of Friends, the widely acclaimed Palme his status as one of the most signif- of ’s Judex and Max of Campion’s attention to material- of Keats’ poetry and correspondence, (2006), a masterfully staged portrait political commentary into film 35mm print courtesy of the National Film d’Or-winning The Piano, and her most icant and serious of contemporary Ernst’s alter ego, Loplop. Archive in Prague. ity, marking this as a key work in her while focusing on Brawne’s intimate of sustained drought in an outback narratives, Herz turned to period recent feature Bright Star, as well as a filmmakers. This season of imported career. With Jennifer Jason Leigh. connection to the poet’s work. community decimated by global films and fairytales. This season of 35mm print courtesy of the National Film number of her striking short films. prints includes all of his key works Archive in Prague. warming. imported prints is rounded out by 35mm print courtesy of the National Film and and concludes with the extraordinary Sound Archive, Australia. three hyper-stylised examples of All prints are courtesy of the National Film and Sieranevada, a work of sustained style Sound Archive, Australia. his brilliant work cross-pollinat- and dramatic tension that was widely ing these ostensibly unprovocative regarded as one of the best films genres, which for all their abundant released in 2016. aesthetic pleasures still present a reliably pessimistic take on the human condition.

6:30pmˇ MELBOURNE CINÉMATHÈQUE november 8–22 november 29 MR. NEAL IS ENTITLED december 6–13 of the world and its things: 2017 SCREENINGS TO BE AN AGITATOR raoul walsh, the and justice Daryl Dellora (1991) the materialist cinema of danièle huillet and Wednesdays from 7pm at ACMI * 58 mins Unclassified 15+ Federation Square, Melbourne great traffic cop for all: the A moving profile of the work and life jean-marie straub of High Court judge Lionel Murphy Presented by the Melbourne Cinémathèque and his role in the introduction of and the Australian Centre for the Moving Image. November 8 November 15 November 22 December 6 December 6 (cont.) December 13 of the movies collaborations many radical legal and political Curated by the Melbourne Cinémathèque. 7:00pm 7:00pm 7:00pm 7:00pm 9:20pm 7:00pm reforms. This stylish investigative Supported by Screen Australia and Film Victoria. WHITE HEAT THE ROARING TWENTIES REGENERATION NOT RECONCILED OTHON THE CHRONICLE OF ANNA of daryl dellora documentary, produced by Maslin in Raoul Walsh (1949) Raoul Walsh (1939) Raoul Walsh (1915) Jean-Marie Straub (1965) Danièle Huillet and Jean-Marie MAGDALENA BACH partnership with Dellora, explores MINI MEMBERSHIP 114 mins M 106 mins PG 72 mins Unclassified 15+* 55 mins Unclassified 15+* Straub (1970) Danièle Huillet and issues of surveillance and human Admission to 3 consecutive nights: and sue maslin 88 mins Unclassified 15+* Jean-Marie Straub (1968) Although a veteran whose career as Walsh’s late-period gangster melo- An epochal rise-and-fall gangster Considered a lost film until its rights while highlighting the complex A rare opportunity to experience the Described by Straub as a lacunary Full: $30 / Concession: $25 (GST inclusive) 94 mins Unclassified 15+* epic bookended by World War I and rediscovery in the 1970s, Walsh’s first legal procedures that both protect film, this adaptation of Heinrich Corneille’s 1664 tragedy – based on both actor and director dates back drama remains one of the genre’s high This program celebrates the work of work of two of modernist art cinema’s the aftermath of the 1929 stock feature is also regarded as one of the and fail Australian society. Featuring Böll’s Billiards at Half-Past Nine is Tacitus’ Histories – is drained of Straub and Huillet’s most accessible ANNUAL MEMBERSHIP to the very start of filmmaking in watermarks, an influence on multiple one of the most significant collab- most criminally under-appreciated market crash, Walsh’s film stars key works in the early development of Ernie Dingo as Mr. Neal. Followed defined by its omissions as much as conventional dramatic and cinematic film is a complex formalist exercise Admission for 12 months from date of purchase: Hollywood, Raoul Walsh (1887–1980) arenas of American pop culture from orative teams in contemporary figures, this season presents six films Breaking Bad James Cagney and Humphrey Bogart the gangster genre. An orphaned child by Dellora and Maslin’s Conspiracy by its content. Eschewing narrative elements in a striking Brechtian that deconstructs the form of the Full: $160 / Concession: $140 (GST inclusive) is most widely celebrated for the Madonna to . The story of Australian film and television: from across the breadth of their truly in their third and final collaboration. grows up to become a hard drinking (1994) 58 mins Unclassified 15+*. A chronology, lyricism and psychology, experiment. Straub and Huillet’s cast fictional and documentary biopic. This string of action films, Westerns, petty thug Cody Jarrett’s (an immortal documentary filmmaker Daryl singular and profoundly collabora- Cagney’s hoodlum with a conscience and gambling low-life and gang leader provocative examination of the 1978 the depiction of three generations of recite dialogue as un-nuanced torrents does not distance us from the subject FRIENDS OF CINÉMATHÈQUE musicals, hardboiled melodramas James Cagney) ascension to the top of Dellora and creative producer Sue tive career. Husband and wife as well oscillates between the moral poles but is tempted to reform after falling Sydney Hilton Hotel bombing that a German bourgeois family – before, and in multiple accents, competing at hand or cast doubt on documentary Admission for 12 months from date of purchase: and crime movies he made at Warner the crime citadel, Walsh’s masterpiece Maslin. Although Dellora and Maslin as life-long collaborators, Danièle represented by a murderous Bogart, on in love. Filmed on location in New prompted a re-investigation of the during and after Nazism; though it’s with the unfiltered ambience of truth, but invites a more direct engage- Full: $290 / Concession: $260 (GST inclusive) Bros. between 1939 and 1949. He is studio filmmaking as explosive, have worked in various roles for Huillet (1936–2006) and Jean-Marie one side, and their DA friend (Jeffrey York City and revelling in the Irish- unsolved crime. Both films received generally not clear what belongs to traffic and birdsong. Filmed among ment with Bach’s music. Strikingly The Friends of Cinémathèque membership is a way for you to support the also forged lasting relationships proto-modernist “action painting.” their company Film Art Media on Straub (1933–) built a radical filmic Lynn) on the other. Told with Walsh’s American milieu that was his métier, recognition at the Australian Human which era – aims for a materialism Rome’s Palatine ruins and performed framed biographical and period details vitality of the Melbourne Cinémathèque, an independently organised, with a range of actors (Errol Flynn, Brash and brutal, it builds to a climax movies such as Jocelyn Moorhouse’s practice that shunned the wasteful characteristically punchy brio, this Walsh sourced actual gangsters, Rights Awards. that positions it more accurately in classical costume, the text is para- are accompanied by unbroken passages not-for-profit organisation. In addition to annual membership you will and, most importantly, of unhinged, almost kabuki-like The Dressmaker, Kirsty de Garis and and reactionary methods of much is a late, even revisionist classic sex workers and homeless people to in the domain of essay film than doxically foregrounded and diffused. from Bach, subverting the conventional receive: James Cagney) and technicians that abandon, one that remains iconic in its Timothy Jolley’s Celebrity: Dominick ˇPlease note the earlier start time for this industrial film production, a paradox amongst Warner Bros.’ social-realist feature as extras. Adapted from the narrative. Their first colour film highlights the relationship between score and image. • 1 complimentary ticket for an ACMI programmed cinema session helped embolden his reputation as direct address to the shared psycho- Dunne and Alec Morgan’s Hunt Angels, program. Both films to be introduced by the set in relief by their genuine and 1930s gangster cycle, and a showcase book My Mamie Rose by Owen Frawley filmmakers. filmmakers’ typical focus on political Preceded by Straub’s The Bridegroom, • 3 × single passes to bring a friend to a Cinémathèque screening any time a reliable and quick-paced direc- sexual excesses throbbing through it is the series of documentaries they unabated love of classical Hollywood for Cagney at the peak of his acting Kildare. With Anna Q. Nilsson. 8:05pm power dynamics rendered abstract the Comedienne and the Pimp (1968) 23 in the calendar year tor whose movies were defined by both character and audience. With have made together since 1991’s Mr. cinema (from Charlie Chaplin to John ability. 8:40pm SICILIA! through performance. mins Unclassified 15+*. A film in three • Discounted member prices for ACMI programmed cinema sessions movement. For many critics it is Virginia Mayo and Edmond O’Brien. Neal is Entitled to be an Agitator that Ford and beyond). Working simply, The 8:25pm THE EDGE OF THE POSSIBLE Danièle Huillet and parts, including an abbreviated play • 15% discount at ACMI Cafe & Bar and the ACMI Store this ten-year-period between 35mm print courtesy of the Library of Congress. best demonstrate their commitment with minimal crews and resources, Roaring Twenties THE THIEF OF BAGDAD Daryl Dellora (1998) Jean-Marie Straub (1999) filmed at the Action Theatre • Exclusive invitations to cinema events, previews and screenings in 1939 and argu- 9:05pm to exploring recent Australian social, Straub and Huillet pioneered an Raoul Walsh (1924) 55 mins Unclassified 15+* 66 mins Unclassified 15+* featuring • Subscription to the ACMI Film Member e-news ably his greatest film, the incendi- HIGH SIERRA 8:55pm cultural and political history as well entirely new, thrillingly precise ary White Heat, that best represents Raoul Walsh (1941) 155 mins Unclassified, all ages† approach to film grammar: sharp, and Hanna Schygulla. • An ACMI Film Membership card that can be used to scan into THEY DRIVE BY NIGHT as questions of social justice and artis- This award-winning collaboration This magnificent late work finds Walsh’s lasting contribution to 100 mins PG dense and conditioned on the absolute Cinémathèque sessions. Raoul Walsh (1940) One of Douglas Fairbanks’ most ambi- tic vision. Showing a particular fasci- between director Dellora and producer Straub and Huillet further refining Print courtesy of the National Film and Sound the cinema and constitutes one of balance between text, politics and Archive, Australia. This often-moving portrait of a gang- 95 mins PG tious movies, and his own favourite, nation for the complexities, problems Maslin is a model arts documentary the materialist-dialectical approach the great runs of any Hollywood methodology. From their international MEMBERSHIPS AVAILABLE AT: ster’s last stand features a star-mak- shows off the star’s supreme athleti- and occasional triumphs of the legal tracing the fascinating and often they spent a lifetime radically • ACMI Tickets and Information Desk (03 8663 2583) director. Although his work did This tale of family, friends and breakthrough, The Chronicle of Anna 9:10pm ing performance by Humphrey Bogart cism as a swashbuckling Aladdin-like system, as well as laudatory figures torrid construction of the Sydney practicing. Adapting Elio Vittorini’s • Online at www.acmi.net.au (booking fees apply for online transactions) betray connected qualities in earlier bitter revenge stars and Magdalena Bach, to History Lessons HISTORY LESSONS as a criminal (Roy Earle) on the lam hero leaping through extravagant sets operating within it (Michael Kirby: Opera House. Featuring an illumi- anti-fascist novel, Conversazione “rough-house” films such as the Humphrey Bogart as a pair of wildcat and Sicilia!, Straub and Huillet consis- Danièle Huillet and up against the vicissitudes of fate inspired by Orientalism and modern Don’t Forget the Justice Bit), they have nating interview with the building’s in Sicilia, the filmmakers organ- truly seminal Regeneration, The truckers disenchanted with the long tently worked to rewrite the borders Please note, membership does not ensure admission: members will only be interior design. A fantasy-romance also made several documentaries that visionary architect, Jørn Utzon, it is ise their film relationally, from Jean-Marie Straub (1972) and ageing. The top-billed Ida Lupino * admitted to cinema capacity. Thief of Bagdad, What Price Glory, hours and crooked ways ruling their between form and politics, spatiality 85 mins Unclassified 15+ is outstanding as Earle’s faithful tale taken from The Arabian Nights, showcase the incredibly driven and also a bracing portrait of Australia’s language to landscape, matter to and Me and My Gal, it is the work of life on the road. Ida Lupino and Ann and musicology. Fascinated by the companion in Walsh’s landmark Sheridan, both renowned for their Walsh’s wondrously inventive film truly visionary works of prominent recent cultural history. Followed by memory, charting an enchanted This free adaptation of Bertolt Brecht’s FILM CLASSIFICATIONS: this later period, made when Walsh Harry Seidler – gaps created by the translation of the crime film characterised by a ruthless caustic and hardened personas and created unprecedented movie magic overseas-born architects (Jørn Utzon Dellora and Maslin’s inventory of objects, faces, gestures unfinished novel The Business Affairs * Where a film is labelled “Unclassified 15+” viewers are required to be was in his 50s and early 60s, that Modernist material world into “the known,” humanity, rugged location settings attitudes, play rivals in a sordid love with breakthrough special effects and the Australia-based Harry Seidler) (2016) 58 mins Unclassified and affects. For viewers willing of Mr Julius Caesar exemplifies Straub 15 years or older, unless accompanied by an adult. led Manny Farber to admiringly * their films “return constantly to and its energetic pace. Co-scripted by including a flying carpet, magic rope who have created many of their major 15+ . Dellora and Maslin’s latest to adjust tempo to that of these and Huillet’s attitudes to trans-Euro- anoint him the “great traffic cop triangle. Typical of the gritty and themes relating to geography, national † Where a film is labelled “Unclassified, all ages” no age restriction John Huston and feted crime novelist and winged horse. The epic scale of works in Australia. This program collaboration is an intimate portrait utterly individual filmmakers, this pean internationalism, featuring long, of movies.” Although Farber was downbeat Warner Bros. style, this is borders and language” (Ted Fendt). A applies. W. R. Burnett, it is populated by an the sets (taking up 6.5 acres in the features four of Dellora and Maslin’s of Australia’s most celebrated and film remains Straub and Huillet’s fixed shots from the seat of an Alfa attempting to describe the over- an empathetic portrait of despera- fully alive, truly passionate commit- extraordinarily expressive supporting studio and art directed by William greatest films including Conspiracy, controversial modernist architect. most purely pleasurable work, Romeo driving through Rome alongside whelming energy and propulsive tion paired with an undercurrent of ment to the “things” of the world, Follow us on Facebook and Twitter for all Cinémathèque information. cast including Cornel Wilde, Arthur Cameron Menzies) and lavish costumes an intense and inspired investigation This beautifully apportioned docu- stunningly shot in incandescent sequences of toga-clad German actors sense of life that marks Walsh’s best rapturous obsession played out against this moment-by-moment attention Articles on many films in the program can be found in Cteq Annotations on Kennedy, Joan Leslie and Henry (designed by ) made it of the 1978 Sydney Hilton Hotel bomb- mentary includes fascinating archival black-and-white by the late William being “interviewed” about the rise of work, his films are also character- a transient Californian landscape. to materiality, the legacies of history Film, online at www.sensesofcinema.com Travers. the most expensive film production of ing, and The Edge of the Possible, their footage of Seidler and his work, inter- Lubtchansky. Caesar. Adopting Brecht’s sensibility ised by a preoccupation with the Based on a novel by the great A. I. and the here-and-now serves as the its time. most widely screened documentary views with colleagues such as Norman – along with his text – in its distanced details of mise en scène. They also 35mm print courtesy of the Library of Congress. Bezzerides (Thieves’ Highway). basis for Straub and Huillet’s salutary, Website: melbournecinematheque.org about the trials and tribulations that Foster, and contemporary images of contrast between a decaying ancient Email: [email protected] betray, as David Thomson confesses, 35mm print courtesy of the Library of Congress. uniquely cinematic politics. marked the torturous construction of iconic commissions such as Blues Point Rome and a degenerating modern one, “a rare fondness for ordinary people the Sydney Opera House. Tower. the film reminds us what happens to and quiet lives.” This season draws Join our weekly reminder list: those who fail to learn from history. key lines between Walsh’s work in send a SUBSCRIBE email to our address listed above. the silent era and his mature movies of the late 1930s and 1940s, while highlighting his truly monumental and defining contributions to the gangster and broader crime genres.

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