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Join Us. 100% Sirena Quality Taste 100% Pole & Line melbourne february 8–22 march 1–15 playing with cinémathèque marcello contradiction: the indomitable MELBOURNE CINÉMATHÈQUE 2017 SCREENINGS mastroianni, isabelle huppert 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 DIVORCE ITALIAN STYLE A SPECIAL DAY LOULOU THE LACEMAKER EVERY MAN FOR HIMSELF and the Australian Centre for the Moving Image. Luchino Visconti (1957) Pietro Germi (1961) Ettore Scola (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 New York 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 Italy. 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” (Danny Peary) features “narrative” filmmaking fuses their ANNUAL MEMBERSHIP Lover living la dolce vita, 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 Catherine Deneuve, 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 Rome gathers that has taken her around the world to omy of co-dependent romantic imma- unassuming life before being swept (Huppert, Nathalie Baye) of Godard’s FRIENDS OF CINÉMATHÈQUE stardom while maintaining a stance Fyodor Dostoyevsky, this fascinat- Giovanni Arpino, 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 France, the United States, 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 Stefania Sandrelli as the teenage work by Pasqualino De Santis, 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 Jean Eustache, 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 Nino Rota. 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 STORY OF WOMEN 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) Claude Chabrol (1988) Michael Haneke (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 Mario Monicelli (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 Federico Fellini (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 Roger Ebert 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 Woody Allen 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).
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