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SE Mann and Jacques Demy. Mackenzie, John Boorman, Michael Burnett, Kent Charles as directors key focusing while mainstream on such filmmakers outside the Hollywoodof of LA’s by cultures and representation for the importance claims film makes the of City Angels’ geography and identity, onobservations distortions the of the archaeological resurrections and rueful cinema. details, of Brimful fascinating in twentieth-century depicted as and abuses of his beloved Los Angeles meticulously documents uses the 200 films, Andersen indignantly and unlicensedCollating clips from over 15+* –UNCLASSIFIED 169 MINS (2003) THOM ANDERSEN PLAYS ITSELF ANGELES LOS 8:00PM Lynch’s appeared in over 100films including actor who abit-part has featuring melancholy compilation of scenes his monumentalto a is LAessay 15 +* (2014)14mins Unclassified Andersen by memory cultural the of place. juxtaposing music, voice, image and while emphasise ephemerality that its buildings of acityscape fragments offers montage of signs, murals and dilapidated inwhen close-up. seen This symphonic most is beautiful city the that his claim influential formed in response to Andersen’s highly were two filmsthat Angels features ofThis double from City the feature 15+* –UNCLASSIFIED 34 MINS (2010) THOM ANDERSEN OUT OF GET THE CAR 7:00PM modern. Johnstrikingly Co-stars Hurt. but time the nowat comes across as approach underappreciated was that an almost observational, journalistic 1968’s – following 1959’s high-profilean actual murder case filmingreconstruction afictional of at Fleischer’sin third Britain. attempt usher in end punishment the of capital helped to that of justice miscarriage a mild-mannered psychopath, and the byplayed Richard Attenborough as John killer Christie, 1950s serial True-crime study of 1940sand early –M 106 MINS (1971) FLEISCHER RICHARD PLACE 10 RILLINGTON 8:55PM in director’s the home). disturbing home-movie sequence shot of Mark’s a psychologist (via father and Powell in himself creepy the role Shearer, Moira features Anna Massey influenceA key on Scorsese,also it a cornucopia of director’s the obsessions. cryptographer and Leo Marks presents movie based on is adisturbing script by personal self-reflexive and fascinatingly image of fear. Powell’sperfect deeply Boehm bent on Mark) as capturing the murderous of afocus trail puller (Carl profoundly shocker cinematic follows the psychologicalof British horror, this major work and one of defining the films Considered by many be Powell’s to last –M 101 MINS (1960) POWELL MICHAEL TOM PEEPING 7:00PM

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Taking as and collagist ofsynthesis essayistic the documentary represents an early Rosenbaum), unclassifiable this subject”on (Jonathan acinematic “One of films made essay ever best the 15+* –UNCLASSIFIED 59 MINS (1975) FISHER MORGAN FAYTHOM ANDERSEN, ANDERSEN, ZOOPRAXOGRAPHER EADWEARD MUYBRIDGE, 8:00PM and director. 1940s actor, African-American writer spaces and in work the places of the Williams Spencer (2015) of Films the from influence cinema.on locomotive’s foundational exploring the films showing and title theaction the of Son compilation, inspired by Ozu’s Station the at sundae. decomposing Morganwith Fisher documents that a Melting 20years. of offerings last mature the a mid-1960sstudent film at to his USC shorts ranging work as from his early Andersen’s provocative and playful This program of three presents 15+* –UNCLASSIFIED 51 MINS (1965–2016) THOM ANDERSEN ANDERSEN THOM OF SHORTS THE THE TRAIN: CHASING 7:00PM ofLaCinémathèqueroyaleCourtesy deBelgique. horror. works ofgreat 1970sBritish restored and one as reassessed of the rediscovered, been film recently has bracing, claustrophobic and dreamlike being out of circulation for decades, this stay. to afriend when she invites After of control and descend into madness country house. Things out further spiral a neurotic woman “trapped” in alarge (daughterPleasence of Donald) as extraordinary the starring Angela modern gothic psychological horror and acreepy,is compelling detailed finely companion Polanski’s to piece director Larraz’s ( Catalan –M 92 MINS (1974) LARRAZ RAMÓN JOSÉ SYMPTOMS WED 6.00PM &9.15PM Institute Archive. 35mm print oftheBritish courtesy Film With George Sanders. sci-fi works key the ofhorror. British of one also is small-town terror of chilling and unnerving serenely vision children. Rilla’s measured,telepathic of disturbing ageneration to birth give to incident women the leads that of town the of aparanormal tale terrifying the tells ( novel of Johnterrain Wyndham’s 1957source more the location to appropriate English conception”.of “immaculate Shifting groups concerning story’s the portrayal dueshelved objections to from religious production, film was this initially aMGMUS as slated Originally –PG 77 MINS (1960) RILLA WOLF OF THE DAMNED VILLAGE 7:00PM &WEDTUES 7.45PM efforts, directorial number of often-intimate most the with successful of her small and Joseph Losey ( aChambermaid of ( ( t u a f uf Tr directors,most François sympathetic including many her work with of her fromfilms the decade 1958–1968, This season focuses on Moreau’s key achievement awards.a host of lifetime over six decades, more than 130films and 2017, Moreau’s had career spanned film melancholic.yet in July Before her death intense vulnerable, yet ferocious sensitive, sheOn screen could be disdainful yet empowered femininity. an demonstrating beingever pigeonholed and always while without of characters array extraordinary fluid screen presence, Moreau an played and of auteurs 1960sand the ’70s. With a honour directors roll for greatest the career 1940s –herunfolded film an like guished late the back to roles dating – following of often-undistin aseries in Louisfame Malle’s 1950s.1940s and finding early After and Populaire Théâtre National in the Comédie-Française the performed with Beginning Moreau in theatre, her career and arebellioussensuality spirit. self-assuredness, uncompromising mouth and sensual lips she embodied dark eyes, downturned characteristic unfathomable face, enigmatic yet 1970s.1960s and With her expressive early sophistication throughout 1950s, late the and emancipation coolness, female icon of French the New Wave, defining Jeanne Moreau atrue (1928–2017)is in world”, the actress greatest “the as Famously described by Orson Welles NOUVELLE VAGUE THE FACE OFTHE MOREAU: JEANNE 7–21 FEBRUARY TUESDAY 27&WEDNESDAY 28MARCH La baie des anges des La baie Exhibition open daily 2018 Apr 5–7Oct • • • • • • includes: cinémathèque membership our newfriendsof , joining together material from 26 , joining material together melbournecinematheque.org mines fascinating footage of mines fascinating our sincere thanks foryoursupport the acmistore discountatoptickitchen &barand 15% member ratesforacmifilms 1 free acmifilmticket cinémathèque screenings up to3guestpassesformelbourne cinémathèque screenings a passfor12monthsofmelbourne The Midwich Cuckoos L’adolescente. (1965) WEDNESDAY 23MAY Jules et Jim et Jules is an early collaboration an is early (2016) ), Luis Buñuel ( ), Luis Buñuel ), Malle ( ), Malle Eva ), Jacques Demy Juke: Passages Passages Juke: is arecent is Lift to the Scaffold to Lift A Train Arrives Arrives Train A ). Itconcludes Vampyres Les amants Les

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REPULSION 9:00PM and chronology. narrative of classical be bound to refusal by conventions the sleight ofvisual hand and, above his all, “pure in his called cinema”, manifest of Hitchcock what famouslymastery power Roeg’s thanksits to and mystery landmark,this horror visionary retains a chilling by Daphne story du Maurier, dangerous experiences. fromAdapted and increasingly terrifying inexplicable, ofdecaying city, aseries have they tragedy. in elegantly While the family to an trip extended Venice following a couple amarried as mesmerise who take Donald and Sutherland Julie Christie –M 110 MINS (1973) ROEG NICOLAS NOW LOOK DON’T 7:00PM Archive, Australia. 35mm print oftheNationalFilm courtesy andSound by Chico Hamilton. score jazz-inflected agreat features from influence on a whole swag of movies you uneasy for days afterwards. A major leave modern will that fractured classic schizophrenicsadistic in truly this Deneuve astonishing is jealously the as days. Catherine for several apartment alone in her sister’s manicurist left repressed of asexually deterioration and ( trilogy” “apartment psychological shocker, in first his the Polanski’s Grand Guignol-style –M 105 MINS (1965) POLANSKI ROMAN careers were blighted were by anti-communism.careers whosefilms producedartists by creative of value the lasting the demonstrates that insights and trove of critical revelations documentarycommitted atreasure is researched andJr, deeply deftly this Trumbo, John and Garfield Ring Lardner such as Abraham Polonsky, Dalton workthe and of actors directors, writers clips from pertinent Packed with Blacklist. of Hollywoodcompleted the by victims the of examination movies the and detailed theorist Burch film with is an insightful Andersen’s provocative collaboration 15+* –UNCLASSIFIED 118 MINS BURCH (1996) NOËL ANDTHOM ANDERSEN HOLLYWOODRED 9:10PM Michel Piccoli. Co-stars chambermaidthe of title. the imperious performances Célestine, as in one ofstars her most nuanced and uncommonly framework. Moreau realist of bourgeois an within set values dissection droll characteristically a through universe decadent, fetishistic of his explore palette to able is full the (Michael creations” Atkinson), Buñuel aristocracy. Inone of his “most sublime making commonfascists the cause with involvingresurfaced working-class conflicts social 1928when to similar Mirbeau’s turn-of-the-century novel update Octave inventively Carrière Jean-Claude andBuñuel co-writer –M 98 MINS BUÑUEL (1964) LUIS ACHAMBERMAID OF DIARY 9:00PM 35mm print oftheBritish courtesy Film Institute. force of life. unforgettable Moreau atruly is affections, and characters’ subject of titular the uncontainable the As Catherine, object independent woman. andtruly mercurial Werner(Oskar and and Henri Serre) a two friends between a love triangle of story modernity-fuelled the tells during World and after War film I,the scenes in cinema history. before, Set ofsporting most the cherished several famous film the of Godard’swith is, adaptation alonghighly cinematic his exquisite, supremely and energetic hymn love to and and perhaps life”, to Roché’s source novel perfect “the as Truffaut once described Henri-Pierre –PG 105 MINS TRUFFAUTFRANÇOIS (1961) JIM ET JULES 7:00PM The Tenant Barton Fink Barton WEDNESDAY 7 FEBRUARY 7 WEDNESDAY

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Child Child philosophy and language ( and personal importance of literature, and overwhelming the cultural, social obsessive romantic love ( ( of childhoodand mysteries magical Black Wore Bride genres ( of from translation the popularAmerican Truffaut’s preoccupations, key ranging Jim monumental and era-defining thePlayer Piano Shoot of early the include some of most the important films by watching films.to were The results of filmmakingthe way only he knew how: simultaneously teaching art the himself chosen Truffaut targets, directorial was film industry, carefully as as well French complacent and conservative the aswordusing as attack criticism to film journal, established for newly the sioned criticism and impas influential widely writing RohmerEric and Claude Chabrol, began Jean-Luc Godard, Jacques Rivette, like along filmmakers future other with Truffaut in with André fell and, Bazin from French the 1950s, army in early the joining and deserting adolescence. After Cinémathèque Française during his becoming Henri aregular Langlois’ at medium, the in love with fell and instantly he discovered age the of cinema eight at legend. A regular truant from school, become of cinephilic stuff the has itself enduring day. this to Truffaut’s biography history, humanist his deeply vision remembered cinemain filmmakers one of most the important and fondly François Truffaut (1932–1984)remains agentA key of French the Wave, New 9–25 APRIL by Michel Legrand. score amemorablyFeatures evocative sun-kissed, almost pulpy sensibility. addiction aharder-edged, with of love, storyline lossa lyrical and world combines that acontrastive creates losses. heavy Demy masterfully her later comes despite regard to her talisman as young man (Claude Mann) whom she and simultaneously up picks ahandsome lucky it casino of mecca she Nice strikes the at (Pauline Upon Kael). her arrival film,triumph a whirlingstyle” of little and dazzling second “amagical, feature, spot in Demy’s for roulette spontaneous ash-blonde ablind gambler Parisian with an as aging,Moreau stars impulsive 15+* UNCLASSIFIED – 90 MINS DEMY (1963) JACQUES ANGES DES BAIE LA 8:40PM 35mm print oftheEYEFilmmuseum. courtesy of love in cinema”. the described by Truffaut night first “the as Venice, groundbreaking this work was reawakened. Winner of Jury the at Prize and andstranger sensually sexually is ayoung with who embarks on an affair of aprovincial newspaper publisher a smouldering Moreau bored the as wife affluent upperfeatures middleit classes, of ennuiA tale amongst and infidelity the passions and confrontation the of desire. in conflicted interest his thematic established that secondfeature fiction satirical, often frank, sexually this with breakthroughMalle’s international came –M 90 MINS (1958) MALLE LOUIS AMANTS LES 7:00PM CHILD OF THE CINEMA FRANÇOIS TRUFFAUT, The of best his post-accident movies THE SADLY BEAUTIFUL Wild River. defines a particular image of Clift’s defines a particular only another 14films, but collaborated range, andof great even subtlety of most thoughtful the sensitive, and physical uncertainty andphysical sense of uncertainty loss performance in film, key this alongside persona outside of norms the of until 1948). Over the next 15 years he 15years next the 1948).Over until strangeness alongside John Wayne in emerged an as actor career, Clift stage soulful as of actors his generation significant andmovies emblematic War compared IIUS cinema. his Often to career in the early 1950s, he developed in early the career contemporaries and James Dean Marlon exploit this increased vulnerability, vulnerability, increased this exploit administrator in Kazan’s administrator masterpiece, and and Stevens’ Zinnemann’sas a profoundly independent and offbeat and Wyler. William of his peak At the De Sica, John Huston, Kazan Elia vulnerable role as a New Deal Deal rolevulnerable aNew as well as a gay icon in the years after agay icon as after well in years the with manywith of Hollywood key the and completing worked selectively, very 30 MAY–13 JUNE Clift’s greatest performances ranging greatest Clift’s beauty before the 1956 car crash that before that crash 1956car the beauty Stevens, Fred Zinnemann, Vittorio Brando, amore presents vulnerable, Clift his untimely death. After asuccessful death. his untimely After from his full emergencefrom his full in RiverRed Hollywood in such starring also while Howard epic Hawks’ Oedipal western, including Edward Dmytryk’s injuries. lingering him with facial left including Hitchcock,Alfred George of directors era the international Montgomery one (1920–1966)is of Clift than his counterparts, emerging one as persona and interior truly pensive star emerge from to actors key post-Worldthe to his damaged,to and brave tenaciously equally luminousthe Taylor, Elizabeth Lions MONTGOMERY CLIFT PLAYING SOLO: CAREER OF Small Change Small PLEASE NOTE NOTE THE NON-WEDNESDAY PLEASE WWW.MONASH.EDU.AU/MUMA TUESDAY -FRIDAY 10AM -5PM &SATURDAY 12- 5PM MUSEUMOFART MONASH UNIVERSITY SCREENING DATES PARTS FOR OF SCREENING . This season focuses on many of Freud. WEDNESDAY 14FEBRUARY and John Huston’s and Shoot thePlayer Piano Shoot Fahrenheit 451 (shot in 1946but not released This season features six of six This season features nouvelle vague, Cahiers du cinéma. du cinéma. Cahiers THIS SEASON. THIS A Place in the Sun.A Place ) to the vicissitudes of vicissitudes the ) to ) and the tough realities ) and tough the realities From Here to Eternity Eternity to Here From

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with the overwhelming the with romance that girl Winters’ shrill, factory vulnerable Shelley hemmed-in scenes featuring wrenchingoften the movie, contrasts it composed wealth. A beautifully and andmessiness of for his desire life role an as outsider undone by the defined is desire emblematic by Clift’s murder, “wrong” choices and unfettered ambition, of thwarted class,This tale of Hollywood key the films the 1950s.of Dreiser’s of adaptation contemporary Theodore meticulousStevens’ and haunted –G 122 MINS (1951) STEVENS GEORGE THE IN SUN A PLACE 7:00PM Sound Archive, Australia. Print oftheNationalFilm courtesy and a young Lafont). woman (Bernadette following agroup with of boys infatuated tale carefree filmis a characteristically 15+* mins Unclassified mistons Les Dubois and Nicole Berger. director’sthe loves. With cinematic Marie of insolent celebration a playful, gleefully most Godardian, is second this feature camera. Truffautfreewheeling his at frequent jump cuts and Raoul Coutard’s in toneand dodging while shifts wild contrivances plot whohero must negotiate unlikely, the as Keaton-esque Buster stars noir Charles and slapstick. Aznavour silent pastiche of Hollywood aself-reflexive is whopianist involved gangsters, gets with Goodis’ Truffaut’s loose of David adaptation –PG 80 MINS TRUFFAUTFRANÇOIS (1960) PLAYER THESHOOT PIANO 9:00PM Bernard Herrmann score. an evocative homage features also Truffaut’s Hitchcockian exciting onBased Woolrich’s Cornell novel, original on release. its reviews hostile on Moreau’s stardom, with film met the meditation and fascinating performances viciousness, cool excellent its stylistic increasingly inventive, methods. Despite of each using them killing various, her revengeshe by methodically takes bride awidow on her wedding day, a men five make youngAfter fatale. and vengeance-seeking best femme widowblack-clad remains original the decades,over three Jeanne Moreau’s Predating –M 107 MINS TRUFFAUTFRANÇOIS (1968) WORE BLACK THE BRIDE 7:00PM score by Philippe Sarde. of war. amovingly Features expressive clouds approaching but the for dark idyllic sensorial atmosphere, its to attention countryside an captured intimate is with The surrounding mountainous French sensibility. feminist distinctively a explore ofeve World War II,and allows Moreau to girl’s romanticteenage awakening on the rapture and disenchantment of ayoung (Simone the Signoret) traces –that andmother Clever) grandmother (Edith daughter, – generations interconnected observant chronicle awarmly is of three Moreau’s director as second feature 15+* – UNCLASSIFIED 90 MINS (1979) MOREAU JEANNE L’ADOLESCENTE 9:00PM 35mm print oftheEYEFilmmuseum. courtesy score jazz bya great Michel Legrand. novel and1945 bestselling showcasing Italy. on Based James Hadley Chase’s languid decadence in post- to a paint picture of objects figurative flamboyant sets, elaborate costumes and on symbolism, overt Losey indulges in Relying Baker). Welsh (Stanley writer andmanipulates aphoney torments goldshameless digger who seduces, inhabits sultry, the Moreau fearlessly cinematographer Gianni di Venanzo. shot by regular Fellini and Antonioni and obsession, sexuality brilliantly amisanthropicpresents vision of Losey characters, motivated clearly Without or aconventional narrative –PG 107 MINS (1962) LOSEY JOSEPH EVA 7:00PM actors ofactors his generation. him one as established of great the Garth and role Matthew as driven shot moody Clift’s Harlan, by Russell brand. Red the River as Beautifully profoundly as sweepingthis spectacle John Ireland and BrennanWalter mark including cast stellar Joannethe Dru, Tiomkin performances and by brilliant War West. score An elegant by Dimitri changingthe of post-Civil the territory his defiant adoptedin set son (Clift) figureauthority (John Wayne) and ahardened between Oedipal battle of Hawks’ areworking is classic American –G 133 MINS HOWARD HAWKS (1948) RIVER RED 9:15PM scenes. sensual indelibly Taylor in some of cinema’s the most and Elizabeth Clift between strikes Mutiny the on Bounty WEDNESDAY 21FEBRUARY Down There WEDNESDAY 30MAY

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“I AM HERE AND I DON’T “I AMHEREANDIDON’T the film was not initially a critical or a critical film was the not initially oldthe woman’s granddaughter. While love the play director interest, the to Cumberland. pro-unionthe short director on film, his assistant as first from wherenot had Kazan worked far reconstruction shot was on location Filmed in ’Scope, soulful this period flooded is it for a project.hydroelectric (Jo her land beforeVan sell to Fleet) stubborn, Tennessee elderly woman sent by Washington persuade to a administrator Deal aNew as stars Clift –PG 110 MINS (1960) KAZAN ELIA RIVER WILD 7:00PM Coutard and music by Georges Delerue. cinematographybrilliant by Raoul did Haskell). it in 1964”(Molly With “looks today fresher lives even than study underrated of unravellingand vastly riveting This intense, obsessiveness. Hitchcockian with dexterous style cally combinesit director’s the characteristi as ramifications of an adulterousaffair increasingly the investigates complex film and emotionally devastating engagement. Truffaut’s self-critical stylish, he’swhile in Lisbon on aspeaking whoDorléac) keeps crossing his path flight (Françoiseattendant beautiful becomes astrikingly with entranced Desailly) (Jean critic A famous literary –PG 113 MINS TRUFFAUTFRANÇOIS (1964) DOUCE PEAU LA 9:05PM Institute Archive. 35mm print oftheBritish courtesy Film and Cusack. Cyril Christie (Tom Werner, With Milne). Oskar Julie of ‘oncetale thanfiction a upon time’” a science “less half-remembered fairytale, tonethetakes on that of a result afilm is and philosophical but end the fatalism, romantic naturalism his trademark with of banned books firemen and fascist aboutset Bradbury’s realising world of cinema’s the oddest dystopias. Truffaut to being claim a one sci-fi stakes novel of RayBradbury’sadaptation seminal lushly discordant score, mod-’60s this by Nicolas Roeg and Bernard Herrmann’s With eye-popping colour cinematography –PG 112 MINS TRUFFAUTFRANÇOIS (1966) FAHRENHEIT 451 7:00PM non-conformist trumpet player, Prewitt. in his signature performance the as Frank Donna Sinatra, and Reed Clift Lancaster, Deborah Kerr, Borgnine, Ernest including Burt cast extraordinary truly a caught of features in wheels the history and of circumscribed the individuals fate of brutality desire, institutional portrait Thin Line Red from novel the by James Jones ( 1941. inAdapted late Japanesethe attack HarborPearl in period the leading up to group of men and women at stationed of a follies romantic and existential The Master (see influential Anderson’swidely Zinnemann’s hugely successful and –PG 118 MINS (1953) FRED ZINNEMANN FROM HERE ETERNITY TO 9:00PM Loden.Barbara oneas of Kazan’s With masterworks. and now is over time it regarded widely box-office has grownstature success its JOHN CASSAVETES work, work, great his is force last that life messy seminal and works,key from formative the brings many together of Cassavetes’ of cinema. This season of imported prints existence own, very on the its justify to messy, passionate, essence of being human –confused, embodiesemotional that pitch the bring an his to actors Cassavetes Having opportunity the watch to immersed in moment. the actors, stay demanding his audience, that his like explanation, director the little with us across take space andellipses time throughhalfway afilm. Unexpected unresolved, or introduce major characters plotlines leave pirouettes structural stunning stage; centre cameos take moment of truths Minor his characters. away from plot and onto moment-to- the cinema focustraditional of narrative the shifting radically performative, highly are naturalistic, as categorised lazily jazz. films, His ofspirit free often truth, and infusing the result with the concern with Stanislavskian ongoing project by adding realist a advanced cinema’s1950s, Cassavetes York New fervent the acting scene of the shooting and editing. Emerging from writing, producing and, famously, less cinema’sAmerican approach acting, to independent epics, revolutionised he astonishing the to of achievements his Hollywoodwith flirtations intermittent Shadows of From experimentation initial the mostpost-war influential US filmmaker. being fronts to the on several claim lay work, John (1929–1989)can Cassavetes – of his singular, body truncated sadly of over production –and, distribution often, complete controlcollaborators) retain to and high-profile other friends and Gena Rowlands of mentionto wife that cinema who used his own money (not apioneermaverick, of independent Lauded Hollywood archetypal the as 14 MARCH 28 FEBRUARY– FORM FILMMAKINGOF THEFREE-KNOW WHY”: Present Company Included Love Streams. Shadows in the late 1950s, through in late the WEDNESDAY 6JUNE MONDAY 16APRIL ) melodrama concerns the Lee Remick reunites with with reunites Remick Lee ), this multi-Oscar-winning), this to the masterfully masterfully the to alive People of the of People – is enough, –is

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Present CompanyIncluded grateful to its principal sponsor Melbourne Cinémathèque is Mention Melbourne Cinémathèque for VIP turnaround on quotes. Phone 0393874717 www.presentcompany.com.au to your promotional needs contact: For innovative and cost-effective solutions The The

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one of most Clift’s and intense, gestural Rohmeras and Chabrol, features also it of favourite inquisition. particular theological A of melodrama, taut murder and mystery blend underrated provocative and often topicguilt become of this central the of and transference the personalities ofthemes masculine anxiety, shifting obsessive Hitchcock’s characteristically in his confession. guilt while reveals conflicted conscience when a murderer of acase suffers priest a Catholic gothic the spires ofBeneath Quebec, –PG 95 MINS (1953) ALFRED HITCHCOCK CONFESS I 7:00PM Jaubert. Maurice of legendary 1930sfilm composer ascore sourcedfeatures from works the of Truffaut’s most successful films,it any as adult drama. detailed richly One but in also amanner complex as and he could: innocently and honestly, ofcaptures spirit the youth only as from French provincial life, Truffaut observed precisely ofcollection vignettes and laughter of children. Inanovelistic loves lives, subjects –the most fruitful for which he one returned to of his on magical, this picaresque tragicomedy Truffaut reflecting once marvelled, time”, do to he seems for first the achild“All does that on screen, –M 104 MINS TRUFFAUTFRANÇOIS (1976) SMALL CHANGE 9:05PM Sky. the Drank Who Blue Horse The Antonioni Effect, Red Reality the Michelangelo and Cinema It: Have series), in the BFIClassics (both Much Too Knew Who Man by edited Exquisitely “borngradually into” language. performance untutored the as child Cargol astunningJean-Pierre gives complex gently life. to relationship he brings compassionate apatient, and and in his dual role actor and as director child’s “wild” the to upbringing,central Truffaut doctor the as himself who is century, eighteenth stars film the late the world.the from on case Based an actual of act welcomingambivalent achild into difficult the and with sympathises even modestthis but profoundly eloquent film focus on thematic adolescence,overall of Truffaut’s characteristic In avein –PG 85 MINS TRUFFAUTFRANÇOIS (1970) CHILD THE WILD 7:00PM –PG 87 MINS (1959) JOHN CASSAVETES SHADOWS 7:00PM Sound Archive, Australia. 35mm print oftheNationalFilm courtesy and Schell. Maximilian With Hope Lange, Rush Barbara and unstoppable machine of World War II. dreams of common men tossed into the ofexperience follows war hopes the and performances) study –this of human the and in one aJew (Clift, his subtlest soldiers Martin) –aBroadway (Dean star his country, better will and two American (Brando), Third the who Reich believes instructor ski German of an idealistic stories the Shaw. between Oscillating by Irwin of bestseller the adaptation anuanced is in together acted ever Clift Method Marlon actors Brando and The twothe onlygreat that film –PG 167 MINS EDWARD DMYTRYK (1958) THELIONS YOUNG 8:45PM Malden andWith Karl Anne Baxter. nuanced performances role. in lead the various aspects of cinema including including cinema of aspects various on numerousand of books the author the world’sscholars one of film leading University), (Ryerson Murray Pomerance by Professor introduced be to Screening andDasté Claude Miller. regular Agnès Guillemot. With Jean bond. familial of the mysteries the to testaments great Rowlands), result one is the of cinema’s andsiblings by (played Cassavetes two damaged but relatable eminently psychological of and emotional states home oscillating the anatomise to family deploying crucible the ofBrilliantly the career, (Richard an era, and Brody). alife” self-searching summationbravely of a subjective, kaleidoscopically intimate, of his supreme “amighty, masterpieces, Rowlands now is regarded rightly one as andlifelong wife musewith film Gena into semi-obscurity, final Cassavetes’ beforeFilm quicklylapsing Festival, Winner Berlin the of Golden the at Bear –M 141 MINS (1984) JOHN CASSAVETES LOVE STREAMS 8:40PM Television Archive. 35mm restored print oftheUCLAFilm courtesy and Hollywood’s shores. another onto crash decade to take Wave New American which would an heralds motivation character The open-ended ambiguity of plot and workseminal of US independent cinema. in this remains them self-evident create and whofor actors the his characters and unadorned displays love Cassavetes cious premiere, rawness, the spontaneity re-shot aless-than-auspi and re-cut after acting workshop, Cassavetes’ at famously scene. Developed out of improvisations of York’s New in milieu the of identity jazz issueswhom –negotiate pass for white Three siblings –two ofAfrican-American WEDNESDAY 28FEBRUARY WEDNESDAY 25APRIL WEDNESDAY 13JUNE nouvelle vague nouvelle vague critics such such critics and The Eyes Eyes The

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- of representation”. lesbian Judith a“landmark Mayne called rightly that tale tragic asubtleis and ultimately The Loneliness of Pit Although film was the luridly retitled of slow-burn French cinema. erotic French directors, work akey is female most the was successful of post-war Pabst to andassistant Ophuls who by Jacquelinedirected Audry, aonetime golden age of cinema. Mexican in chapter provides the afascinating approachand hysterical even that version by amore heightened, explicit in Mexican the later 20years matched which was of material, this adaptation controversial, sensual subtle but often Froelich’sCarl a was 1931adaptation Leontinesource Sagan and material. Winsloe’sbased on Christa libidinous of cinema, lesbian influenced by landmarksonetrue the of of Both filmsteachers. these were highly students and between infatuations sexual melodramas focusing on burgeoning the and arich vein to of school” history “girls from twopresents filmsbelongthat 1951 “forbiddenthis love”. This program addressedthey and embraced even world cinema more were in how explicit in movies –other from acrossAustralia in work the ofcharacters Ken G. Hall period –in, for example, specific “minor” can be found in cinemas other of the Although moments similar and trends andof identification even resistance. audience moments gleaned and offer for those aqueer moments to speak that and Hollywood post-classical classical predominantly cinema of “straight” mine to the attempt an extraordinary aptly-named summedbest up by Vito Russo’s These perhaps are characters. lesbian of representations gay and tragic often and coded, closeted, its censorious and commonly focus on Hollywood cinema century middlethe of twentieth the part accountsHistorical of queer cinema of LESBIAN CINEMA OF LANDMARKS GIRLS INUNIFORM: MAY 2 rich and canvas messy of relationships, sketching awonderfully characters, its way with the goes all characteristically touching movies. work This transitional of director’s the most and accessible in one car-park afrenzied attendant with romance an unlikely curator starts shouldthey have”. A lonesome museum peoplethe who didn’t person the marry all to dedicated described “afairytale as evocatively in Cassavetes what star – previously in together cast Gena Rowlands and Seymour Cassel –M 114 MINS (1971) JOHN CASSAVETES AND MOSKOWITZ MINNIE 9:20PM Television Archive. 35mm restored print oftheUCLAFilm courtesy and Gena Rowlands and Seymour Cassel. conventions cinema. of With classical and on aesthetic structural the an attack for independentcall filmmaking, alsobut and complacency not was only aclarion 1960s dissatisfaction ofAmerican late Hollywoodthe establishment, study this and probing close-ups. Produced outside cinematography black-and-white stark by tensiondeeply-etched accentuated is its marriage, of afractured vestiges acouple as Marley clinging last the to actor John character and Carlin veteran trenchant Lynn Starring and affecting. his most at chamber drama Cassavetes is This complex and spontaneous truly –M 130 MINS (1968) JOHN CASSAVETES FACES 7:00PM Oenone Oxlade Content Input (ACMI website): Koller Michael Membership Officer: Koller Michael Music Synchronisation: Lorenzo Rosa Subtitling Logistics: Eloise Ross Volunteer Coordination: Eloise Ross Program Coordinator: Marg Irwin IncorporatedSecretary: Association Kim Munro Executive Committee Secretary: Koller Michael Treasurer: Eloise Ross President: Danks, Eloise Ross and Howard Cerise Koller,Michael Carey, Michelle Adrian by:Curated and communication design Monash students at Design andArt (MADA).Architecture of Culture (Melbourne),Senses Institute 3RRR of Goethe-Institut, the Cinema, Italian the Australia, Patricia Amad and Company Present Included, Sirena Tuna, Dental, Stellar Melbourne, Film and National the Sound Archive of Australia, Film Victoria, Screen for Centre Moving the Goodwin,Australian Reece Image and of especially City Pomerance,Murray Med Hondo, Makavejev. Bojana Pony Canyon, Peng, Kaili Courtin-Wilson,Amiel Thom Andersen, Pat Fiske, Warner Brothers, Taipei Film Archive, Motion Picture Corporation, Central LeBonStiftung, Film, Kinemathek Bonton Zlín,Ateliéry Viktor Schwarz, Tom Zubrycki, Corporation, Shochiku Company Corporation, Friedrich-Wilhelm-Murnau- Ltd, Nikkatsu of and Media Communication –RMIT Japan the University, Foundation, Kadokawa La Cinémathèque royale de Belgique, Films Les du Jeudi, CNC,LUXLondon, School ofLibrary Congress Washington, Film GmbH, Faces Beta Distribution Corporation, York, The Film Foundation’s World Cinema Project, John Hughes, Roadshow Films, Archive, Human the Rights and Museum the FilmArts Festival, of Modern –New Art Film StudioArchive, Institute Pictures,British NBCUniversal UCLAFilm and Television Národní filmový archiv (National Filmandthe Archive Institute Film in Prague), British Australia, Gaumont Film Company, of Czech the and Film Slovak Festival Australia, UNAM, Film Programmers MK2,StudioCanal Umbrella Entertainment, Listserv, EYE Filmmuseum, ofAssociation Moving Image Filmoteca Listserv, de la Archivists Australia, Walt Disney Company Melbourne, di Bologna, Cineteca Films, Potential ACMI Collections, Park Circus Fulton, Graham and Paramount especially Pictures Ozu and Mizoguchi. with collaborations brilliant uniformly Princess Breasts Eternal ( career from filmskey her directorial time inperhaps two first the – Australia of Tanakacareer by screening –for extraordinary the season celebrates fully transitioning TVdrama. to This returning acting and screen to success uniqueexperiences women, to before major studios, focusing largely on films rangeforthedecade next a over of Undeterred, Tanaka completed five more of women. portrayals for his empathetic Mizoguchi, known afilmmaker otherwise a move infamously by protested move directing in to 1953with celebrated Sansho the Bailiff as masterpieces such 1954, culminatingundisputed with Mizoguchi 1940andperiod between the in Kenji in were collaboration with Tanaka’s performances most celebrated film ( ( silents in Yasujiro Ozu’s films,from his major acore as figureand featured regularly and married) briefly Kurosawa, Akira Hiroshi Shimizu whom (to she was Naruse, Tomu Uchida, Keisuke Kinoshita, Heinosuke Gosho, Kon Ichikawa, Mikio canonised of auteurs including her time, of almost critically the all roles with She wouldstars. go on leading play to of Japan’s most popular and iconic movie 1930s,the Tanaka rose become to one Ozu’s through in came films suchas Yasujiro credit her aged major break 14,while of 50years, Tanaka acquired screen her first Appearing in 250filmsthe over course director in Japanese the film industry. secondthe woman afilm as it make to Sakane andactors –after Tazuko –only and most prolific greatest the screen Kinuyo Tanaka one was (1909–1977) of TANAKA CAREER OFKINUYO THE EXTRAORDINARY THE STORY OFWOMEN: 20 JUNE–4 JULY ofphysicality love. With Timothy Carey. andexpectations overwhelming the environment, Hollywood’s unrealistic THE MELBOURNE CINÉMATHÈQUE IS GRATEFUL TO: Equinox Flower I Graduated But... I Graduated WEDNESDAY 7MARCH Dragnet Girl Dragnet ) plus a careful selection of her ) plus selection acareful Miss OyuMiss

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[email protected] Email: Melbourne220 Collins Street, VIC 3000 Apt. Building, Unity 1104,Manchester ABN 59987473440 Melbourne Cinémathèque Inc. McNeill Bella Marketing Coordinator: Calendar and Screen Advertising / Amad Patricia Sponsorship Manager: Tuapasi TokiAlifeleti Webmaster: Rainforth Dylan Calendar Project Management: and McKee WarrenCarla Taylor Design Supervision: Dominique Vine Calendar Design: TuapasiEloise Ross and TokiAlifeleti Paul Chris Luscri, Jeffery, Chris Mildren, Danks, Dixon, Bradley Howard, Cerise Bowes, Adrian Beata Acker,Melissa by:Notes DanksAdrian Calendar Editor: ramshackle in form, Cassavetes’ in form,ramshackle Cassavetes’ misogynyingrained and bracingly Discomforting depiction of in its Londonto indulgence. for further bender in New York before decamping offriend, go their funeral on a48-hour close buddies the attending who, after and director the play himself Gazzara Falk, Peter Ben improvisational style. instanceand of his fearless extreme arguablyis thefeature most divisive fifth amount of exposed footage, Cassavetes’ Cut down from an unmanageable –M 131 MINS (1970) JOHN CASSAVETES HUSBANDS 9:15PM of one’slimits own humanity. personalresilience, agency and the of exploration emotionala striking genre trappings,mainstream becoming Rowlands, film the beyondgoes well its and atour-de-force performance by Gena gangsters close in. Thanks Cassavetes to murdered. The goes pair on run the the as John been have Adames) whose family Gloria, and ayoung boy remarkable (the andevelops ex-mob between mistress, that burgeoning the follows relationship drama and well-worn genre crime clichés urban of gritty combination fascinating Financed by Columbia Pictures, this –PG 123 MINS (1980) JOHN CASSAVETES GLORIA 7:00PM 35mm print oftheJapanFoundation. courtesy loses war. the drama of star-crossed lovers Japan as power. Itdevelops romantic into atragic and yokemarriage the of male imperial hardship, desire, arranged thwarted characteristically complex of tale female YangKwei-Fei Empress 1940s. Machikoearly Kyo (Mizoguchi’s occupation by Japan in 1930sand the (Manchukuo) during region’s that of “puppet” the Emperor of Manchuria chosen younger the marry to brother – centring on Japanese the woman bookbestselling by Hiroko Aiishinkakura Wada ( Natto powerful writer collaboration with Tanaka’s director as a is fourth feature 15+* –UNCLASSIFIED 102 MINS (1960) TANAKA KINUYO THE PRINCESS WANDERING 8:45PM 35mm print oftheJapanFoundation. courtesy Tanizaki’s 1932novel, Tanaka’s work. best on Based Junichiro typifies performancevulnerable that grand scope for kind the of generous, case, on –offers arranged marriage –focusing,of Japanese life social in this and of complexities the constraints view Oharu of Life alongside such monumental filmsas a minor Mizoguchi work when viewed à trois emotional and tentative, a ahead of her younger sister. goes The marriage Tanaka’s for fiancé the widow falls titular 15+* –UNCLASSIFIED 94 MINS (1951) KENJI MIZOGUCHI OYU MISS 7:00PM 35mm print oftheFilmoteca courtesy UNAM. source material. Winsloe’s on Christa variation libidinous cross-culturaland hysterical sometimes rediscovered an is absorbing adaptation émigrés and recently this exiles, and produced by and German Austrian melodrama.Mexican written Directed, films the of fascinating golden age of in Uniform, melodrama, lesbian German ofremake highly the controversial 1931 school. Catholic all-girls Crevenna’s (Marga in López) an her teacher with Heights “Cathy”played in Buñuel’s An orphan Dilián, who (Irasema later 15+* –UNCLASSIFIED 83 MINS (1951) ALFREDO B. CREVENNA MUCHACHAS DE UNIFORME 8:40PM et del’image animée(CNC). 35mm print oftheCentre courtesy nationalducinéma La ronde and Simone Simon of French Edwige actress Feuillère stage by women, celebrated exclusively stars it produceddirected, almost and acted of from rest the society.isolated Written, school in an all-girls of life portrait Audry acandid presents and affectionate eroticism, disguised and barely dialogue French finishing school.lively, ironic With an exclusive students at and teachers and amorous relationships between passions psyche, exploring awakened into female the cinemalesbian delves landmark this Daring time, in for its –M 88 MINS AUDRY (1951) JACQUELINE OLIVIA 7:00PM observation. telling acting, honesty virtuosic raw andwith expansive follow up to ensues. regarded Sometimes as The Harp Burmese WEDNESDAY 14MARCH

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35mm print oftheJapanFoundation. courtesy Yumeji Tsukioka. andlyricism emotional impact. Starring approaching her signature with story the Ozu and Naruse on her filmmaking, while close-ups, Tanaka shows influence the of low angles, staging and deep frequent independence Japan. in rural Shot using single motherhood and growing struggle through amastectomy, divorce, awoman’s depicts it sentimentality, perspective. Avoiding melodrama and of from afemale Japaneseview society namida chodai cancer in 1954aged unflinching 31,this Fumiko who Nakajo, of died breast onBased autobiography the of poet 15+* –UNCLASSIFIED 106 MINS (1955) TANAKA KINUYO BREASTS ETERNAL THE 8:35PM honour and deception” (Kevin B. Lee). ofresolved emotional sex, vortex guilt, andfrank clear-eyed upon gaze an “un providesend asurprisingly of hostilities secret. Ozu’sdark the second filmafter her with wrestling while life family their revitalise to she attempts service, war (Shuji Sano) returns finally fromhome son’s hospital bills. When her husband pay forprostitute to her invalided herself embodied by Tanaka) who must eventually an impoverished dressmaker (beautifully focusing cinema on Japanese post-war work of immediate afascinating is the dark, urgent melodrama and empathetic realistic, Ozu’s uncharacteristically 15+* –UNCLASSIFIED 84 MINS (1948) OZU YASUJIRO THE WIND A HEN IN 7:00PM on legacy. this perspectives counterweight European to a vital Sembène’s 1960s Paris. Hondo’s Ousmane film,like labour of “colonised” in exploitation and of imperialism legacies the the dent, account fierce but reflective of debut feature, Med Hondo’s rediscovered recently director followed by Mauritanian Pontecorvo’s incendiary drama is workskey one ofof the “world cinema”. and sweeping truly “document” is intense, this violent cinéma vérité, to techniques range from that agit-prop ofDrawing abarrage together 1960s. in 1950sand the Algeria early independence in French-controlled it, achieve to during struggle the for undertaken tactics and guerrilla the liberation, ofrepresentations national controversial and influential celebrated, Algiers, of The screening begins with cultures and European their “masters”. Indigenous relationshipsthe between colonialism in and impact on its Africa and damning legacyof European explore filmsthat seminal the urgent agent for change. social two Itfeatures form global andtruly art an as important screening2014, this profilescinema as a of an important formed partnership in direction in world. the Inacontinuation of ourbellwether connection and to experimentations, cinema a is digital filmsto recent silent from earliest the of completethe history world cinema; significant andfrom provocative works Cinémathèque’s screen undertaking to could underlie Melbourne to the be said The reasoning same and commitment reads. Film mission Festival’s statement our Human the Rights stories”, & Arts uneasy of truths our and times reflect on hold to rely them amirror the to vanguard the at of change social –we been always have and creatives “Artists ARTS &FILMFESTIVAL THE HUMANRIGHTS A COLLABORATION WITH THE VIEWFROMTHERE. COLONIAL LEGACIES – MAY 9 on Filmon on many filmsthe Articles in programcan foundbe in Follow us on Facebook and Twitter Cinémathèque information. for all * FILM CLASSIFICATIONS: cinema to capacity. be admitted note, membershipPlease does not ensure admission: only members will www.acmi.net.auOnline at (booking apply for online fees transactions) ACMI and Tickets Information (0386632583) Desk AT: AVAILABLE MEMBERSHIPS • • • • • • • not-for-profit organisation. In additionto annual membership receive: youwill of Melbourne the Cinémathèque, an independently vitality the organised, The Friends of Cinémathèque membership away is for you support to $290/Concession:Full: $260(GSTinclusive) Admission for 12months of purchase: from date CINÉMATHÈQUE OF FRIENDS $31/Conc.Full $26(GSTinclusive) Admission 3consecutive to of nights purchase from date MEMBERSHIP MINI $165/Conc.Full $145(GSTinclusive) Admission for 12months of purchase: from date MEMBERSHIP ANNUAL PROGRAM. GRANTS MELBOURNE ARTS OF AND THE CITY VICTORIA FILM AUSTRALIA, BY SCREEN SUPPORTED CURATED BY THE MELBOURNE CINÉMATHÈQUE. IMAGE. THE FOR MOVING CENTRE AND THE AUSTRALIAN BY THE MELBOURNE CINÉMATHÈQUE PRESENTED CAREFULLY. WEBSITE OR CALENDAR THE CHECK PLEASE –16APRIL. 27MARCH THE PERIOD DURING * EXCEPT MELBOURNE SQUARE, WEDNESDAYS FEDERATION FROM 7PM* AT ACMI, send a SUBSCRIBE email to our to send aSUBSCRIBEemail address above. listed Join our weekly reminder list: Email Website: MELBOURNE CINÉMATHÈQUE 2018 SCREENINGS †

are requiredviewers to be “Unclassified 15+” Wherelabelled afilmis Cinémathèque sessions. An ACMI Film Membership can be used scan into card to that Subscription the to ACMI Film Member e-news cinema to events, and previews invitations screeningsExclusive 15% discount at ACMI and &Bar the Cafe ACMI Shop Discounted member for prices ACMI programmed cinema sessions any in calendar year the time 3 ×single bring to aCinémathèque passes screening to afriend for an 1 complimentary ticket ACMI programmed cinema session Where a film is labelled “Unclassified 18+” viewers are requiredviewers to be “Unclassified 18+” Wherelabelled afilmis 18 years or older.18 years or older,15 years unless accompanied by an adult. : [email protected] , online www.sensesofcinema.com at WEDNESDAY 27JUNE one of most the famous,

melbournecinematheque.org Black Girl Black (“tear-jerker”) is a rare arare is (“tear-jerker”) Soleil O, Soleil (1966),provides a truly indepen truly a The Battle

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to tuberculosis. to husband her child as well in as war the who tenacious the as loses her sister performancetowering by Tanaka central of Mizoguchi’s a features films, other it than many Moreexploitation. immediate by forcestorn the apart of and poverty whose are oftribulations lives two sisters and follows it trials the district, Shinsekai novel, and shot in Osaka’s notorious contemporaneouson Hisaita’s Eijiro of post-war Japan. devastation the Based struggling ends make amongst to meet women bottom the of at pile social the candid and compassionate of portrait dramaa is bracingly neo-realistic Mizoguchi’s and blistering often 15+* –UNCLASSIFIED 75 MINS (1948) KENJI MIZOGUCHI WOMEN OF THE NIGHT 9:10PM Chishu Ryu. With Ozu regulars Shin Saburi and women“traditional” society. in ashifting and nuanced of of place the portrayal of post-war Japan and provides agentle struggling increased the freedoms with of asuccessful wife the as businessman of his work.sensibilities Tanaka co-stars dimensions and and abstract curiously modernist, traditional highlighting the of nature this world, stylised the sises Ozu’s first use of colourempha further complexity. its in all life of Japanese family ironicsimple plot agently cloaks portrait his household. leave to This deceptively modern ways and his allow daughter must concedeAn father obstinate to –G 118 MINS (1958) OZU YASUJIRO FLOWER EQUINOX 7:00PM Med HondoatL’Immagine Ritrovata laboratory. Restored byCinetecadiBolognaincollaboration with urgent today” (Dan Sullivan). feels film’sstill specificity, historical the despite that, indignation political a filmis “suffused with seminal this over four years, self-funded, and fully 1960s Paris. fashion Shot in apiecemeal labourer and self-supporting in artist, migrant and living working, both a as personal aMauritanian as experiences film the draws deeply upon Hondo’s autobiographical, not explicitly Whilst Paris. labour postcolonial in migrant account of of exploitation the African and expressionistic deeply a lyrical indictment of French and imperialism rediscovered afierce is debut feature cinema, Hondo’sAfrican recently One of foundational the figures of 15+* –UNCLASSIFIED 98 MINS HONDO (1970) MED O SOLEIL 9:15PM freedom fighting themselves. movements dissident world cinema, or indeed on influence and catalysing on pervasive score.sive Few films had have such a and Ennio Morricone’s dizzyingly propul convincing deployment of non-actors work, meticulous staging of chaos, utterly agit-prop stunning via handheld camera revolutionary galvanising with realism French colonising forces, neo- fuses it of popular the uprisingAlgerian against depiction Inits release. initial its after more relevance thanand 50 years political shocking of its all retains power tract immediacy,ry-like Pontecorvo’s seismic Shot documenta an extraordinary with –M 121 MINS (1966) PONTECORVO GILLO THE BATTLE ALGIERS OF 7:00PM CTEQ Annotations CTEQ Annotations WEDNESDAY 4JULY WEDNESDAY 9MAY

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- - WEDNESDAY 11 JULY WEDNESDAY 18 JULY WEDNESDAY 25 JULY WEDNESDAY 22 AUGUST WEDNESDAY 29 AUGUST WEDNESDAY 5 SEPTEMBER WEDNESDAY 12 SEPTEMBER 11–25 JULY 22 AUGUST– 12–26 SEPTEMBER THE NIGHT HAS A 5 SEPTEMBER ORIGINAL SINS: 2018 SCREENINGS THOUSAND EYES: BEYOND LEONE: RESISTANCE AND GERMAN THE RADICAL FEMINISM IN THE EXPRESSIONISM LAWLESSNESS OF THE AVANT-GARDE CINEMA 7:00PM 7:00PM 7:00PM 7:00PM 7:00PM 7:00PM 7:00PM AFTER CALIGARI THE LAST LAUGH DESTINY WARNING SHADOWS SPAGHETTI WESTERN THE BIG GUNDOWN THE GREAT SILENCE SABATA OF VĚRA CHYTILOVÁ. DAISIES F. W. MURNAU (1924) FRITZ LANG (1921) ARTHUR ROBISON (1923) SERGIO SOLLIMA (1966) SERGIO CORBUCCI (1968) FRANK KRAMER (1969) VĚRA CHYTILOVÁ (1966) 90 MINS – UNCLASSIFIED 15 +* 98 MINS – UNCLASSIFIED 15 +* 85 MINS – UNCLASSIFIED 15 +* 107 MINS – UNCLASSIFIED 15 +* 105 MINS – M 107 MINS – PG CO-PRESENTED WITH THE 73 MINS – UNCLASSIFIED 15 +* In early 1920, Robert Wiene’s The Cabinet This giant among German silent film Death offers a young girl three chances Celebrated for its outrageous visual Although westerns had been made in A widely underrated masterpiece starring Brutal and pessimistic, this revisionist, In this first of a trilogy of films, Sabata The film most emblematic of the of Dr. Caligari was unleashed upon the classics, documenting the fall and to save her lover’s life. Lang’s dark, style and controversial lack of intertitles, Europe prior to Sergio Leone’s epochal Lee Van Cleef (For a Few Dollars More) topically allegorical western is commonly (Lee Van Cleef) is the lone man dressed freedoms afforded artists by the then world, initiating a revolution not just eventual “rise” of an ageing hotel mystical allegory was his first interna- Robison’s classic tale of psychological A Fistful of Dollars, the astonishing wave in his first leading role, this cat-and- deemed Corbucci’s masterpiece. A in black, a supreme marksman who CZECH AND SLOVAK FILM imminent Prague Spring, Chytilová’s in the understanding of what cinema doorman, was scripted by Carl Mayer, tional success and remains highly horror has long been considered a of films produced in its wake constitute mouse adventure follows bounty hunter bitter kiss-off to the genre, Corbucci comes to the rescue of a small Texas best-known film is a glorious Dadaist is capable of, but also in what cinema is. directed by Murnau, co-photographed impressive for its virtuosic cinematogra- landmark of German Expressionist what is affectionately known as the “Colorado” Corbett as he embarks on channelled his righteous fury at the town. This consciously absurdist entry FESTIVAL OF AUSTRALIA revolt against dominant narrative genres The German Expressionists showed us by Karl Freund, production designed phy, visual effects and expressionistic cinema. Passions overtake reason and spaghetti western. Cheap but rarely a score-settling manhunt for a Mexican assassinations of Che Guevara and in the spaghetti western genre features and modes of representation. Two that the camera could create reality, a by Edgar G. Ulmer and boasts an mood setting. Co-scripted by key reality is not what it appears to be when cheerful, from 1964 a plethora of brutal, criminal known as “The Knife” (Tomas Malcolm X, so much so that Darryl F. whip-crack dialogue, acrobatics, young women embark upon an anarchic subjective world expressing an artist’s outstandingly expressive lead perfor- collaborator Thea von Harbou and a mysterious traveller and illusionist iconoclastic and stylistically freewheel- Milian). Audaciously revisionist in outlook Zanuck declined to grant the film US outlandish weapons and energetic Dubbed “the first lady of Czech film”, rampage, joyously exploiting a string inner perspective on existence. Building mance by Emil Jannings. Eschewing co-shot by Fritz Arno Wagner, and arrives to provide entertainment at an ing gun operas came out of an – and with Sollima’s iconic multilayered distribution. It contains one of Ennio gunslinging executed with supreme flair. the famously combative Věra Chytilová of hapless men; chaos and wanton on currents from other artistic fields such intertitles and featuring “unchained” featuring a stellar cast including Lil otherwise routine dinner party. Shadows, opportunistic pan-European studio imagery, a taut script by frequent Leone Morrricone’s most radical scores to Up against a violent assailant with an (1929–2014) will forever rank amongst destruction ensue. Preceded by A as painting, theatre, architecture and even camerawork of unprecedented agility, Dagover, Walter Janssen and Rudolf reflections and silhouettes dominate system at a torrential rate. At a time collaborator Sergio Donati, and an match the astonishing snowbound iconic banjo, Sabata, both the man and cinema’s most uncompromising and Bagful of Fleas Věra Chytilová (1962) dance, filmmakers such as Fritz Lang, F. this is one of the most lasting, influential Klein-Rogge (Spione, The Testament each frame in the formidable camerawork when the Hollywood western was in explosive Ennio Morricone score – this cinematography of the Dolomite locations. the film, cherishes the unconquerable protean iconoclasts. A key figure in the 45 mins Unclassified 15 +* Shot in a W. Murnau, G. W. Pabst, Joe May, E. A. and dazzling of silent films and a key of Dr. Mabuse), it was an important early of Fritz Arno Wagner, a cinematographer bloated decline, the Italian-Spanish volatile and morally ambiguous film is Starring Jean-Louis Trintignant, Klaus spirit of the old West. With William Czechoslovak New Wave, she enlisted as teenage girls boarding school attached Dupont and Paul Leni utilised lighting, work in the integration of expressionist influence on Luis Buñuel: “Something renowned for his work with Fritz Lang. version ripped up all moral niceties, considered by some to be the best of all Kinski and Frank Wolff. Director and Berger and Linda Veras, and featuring the sole woman studying film production to a cotton mill, this quasi-vérité short framing, set design, performance, the techniques with more naturalistic forms about this film spoke to something deep “Its supreme value as an example of unity presenting extreme violence and radical spaghetti westerns. critic Alex Cox called it simply “one an energetic, flavoursome score by at Prague’s legendary film school, anticipates both Daisies and Miloš conception of plot and characters – the of cinema. in me; it clarified my life and my vision of purpose, of time, of place, of theme, politics via revenge narratives set against of the finest westerns ever”. Marcello Giombini. FAMU, where she was accepted despite Forman’s A Blonde in Love. entire arsenal of cinematic techniques, of the world”. cannot be over-estimated” (Paul Rotha). local desert backdrops. For directors informing her examiners that she found 35mm print courtesy of the Kinemathek Digital prints of both films courtesy of the National in fact – to realise an inner vision of such as the hugely conflicted Marxist their films boring. Collaborating with Le Bon Film, Basel. Film Archive in Prague. the world. That this vision would be so Sergio Corbucci and the prolific pulp fellow catalysing personalities of the determinedly nightmarish is unsurprising. maestro Sergio Sollima, the genre was New Wave – including her second The Weimar Republic, so chaotic, so often just another paid job, but their films husband, the brilliant cinematographer anarchic, liberated from the horrors have nonetheless accumulated a cult Jaroslav Kučera; writer and visual artist of war and the constraints of imperialism, reputation. Including international stars Ester Krumbachová; and editor Miroslav but also wracked by hyperinflation and beyond Clint Eastwood, they seemed Hájek – she made waves at home and a battleground of political extremists, more often than not to feature the abroad with films that privileged women’s was fertile ground for the darker reaches steely-eyed Lee Van Cleef (Angel Eyes in subjectivity, drew upon her lapsed of the German imagination. A sense of The Good, the Bad and the Ugly), an actor Catholicism and played with cinematic an implacable destiny combined with who became almost exclusively identified form and aesthetics with a growing the trauma of the recent past and the with the genre. Equally frequently they adventurousness, reaching experimental anxiety of a national future being written feature magnificent scores by the great apotheoses (and garnering strident on the fly, ensuring the films of the Ennio Morricone, whose eclectic but official condemnation) with 1966’sDaisies movement tapped so unerringly into the instantly recognisable sound came to be and 1969’s Fruit of Paradise, central films 8:40PM 8:50PM 8:35PM 9:00PM 9:00PM 9:10PM cultural psyche that it could almost feel a definitive component of this recklessly in this season. Unlike many, Chytilová THE HANDS OF ORLAC VARIETY ASPHALT THE MERCENARY 8:55PM NAVAJO JOE THE APPLE GAME as if the cinema produced Hitler rather entertaining, uncompromising genre. remained in Czechoslovakia after 1968’s ROBERT WIENE (1924) E. A. DUPONT (1925) JOE MAY (1929) SERGIO CORBUCCI (1968) DEATH RIDES A HORSE SERGIO CORBUCCI (1966) VĚRA CHYTILOVÁ (1976) than simply anticipated him. This season This rip-roaring season showcases Soviet crushing of the Prague Spring. 90 MINS – UNCLASSIFIED 15 +* 95 MINS – UNCLASSIFIED 15 +* 94 MINS – UNCLASSIFIED 15 +* 110 MINS – UNCLASSIFIED 15 +* GIULIO PETRONI (1967) 92 MINS – M 92 MINS – M combines several of the key works of the genre’s most ostentatiously An open letter to “Comrade President” 114 MINS – MA 1920s German Expressionism (Destiny, This atmospheric adaptation of Maurice Emil Jannings plays an ex-trapeze artist Made at UFA just before the full arrival audacious examples, featuring auteurs With an all-star cast featuring spaghetti The spaghetti western’s other great Gustáv Husák demanding she be allowed Chytilová’s belated return to filmmaking The Last Laugh, The Hands of Orlac) Renard’s novel stars Conrad Veidt as in this story of jealousy, betrayal and of sound, May’s extraordinarily dexterous (and Sergios!) to rival Leone. It brings western staples Franco Nero and Petroni’s emblematic revenge western Sergio (Corbucci) offers a tougher and to make films again elicited worldwide after the suppression of the Prague with films such as Warning Shadows, a renowned pianist who loses his murder in the circus world, full of cynical and strikingly visual silent “street film” together a number of the most acclaimed Jack Palance, Corbucci’s thrilling and stars John Phillip Law as a young man more concentrated snapshot of frontier support in 1975; her filmmaking career, Spring is a remarkable feminist screwball Asphalt and Variety that help deepen our hands in a train accident and receives humour and ironic twists. Brilliant – shot by Günther Rittau (Die Nibelungen and stylistically adventurous examples ultra-violent political fable is a key work setting out to avenge the murder and violence than his contemporaries, stalled since 1969 due to opprobrium comedy set around a maternity ward. understanding of the range and profound a murderer’s hands as replacement in cinematography (by Karl Freund and and The Blue Angel) – is an Expressionist- from Death Rides a Horse and The Big of the “Zapata” subgenre. Nero plays defilement of his family, which he favouring a suggestive atmosphere from above, soon resumed. As this season Forgoing the more experimental influence (on genres such as film noir) a radical transplant. Wiene belies his Carl Hoffmann), using pioneering inflected “love” story set amidst the Gundown to two of Corbucci’s most the titular mercenary who, in a typical witnessed as a boy. In this variation of accumulating malice. Joe seeks of imported prints will demonstrate, her approaches to film form and aesthetics of the form and style. common reputation as a cinematic techniques (including placing a camera teeming traffic of late 1920s modernist atmospheric, ambitious and exploratory Corbuccian (as well as Brechtian) on the “tutorship western”, he meets vengeance against the ruthless lesser-known subsequent films are no that characterised her late ’60s work, one-hit wonder, grounding Veidt’s on a trapeze), showcases the high-risk, Berlin. This important transitional work entries: The Mercenary and The flourish, stumbles upon his on-again-off- up with Ryan (Lee Van Cleef) who has scalp-hunters who murdered his wife less engaged with societal and women’s it nonetheless includes no shortage performative excess in a more realistic, dizzying trapeze sequences and frenzied presents a nimble hybrid of sensibilities Great Silence. again friend (Tony Musante), reigniting a just served a long stretch in prison and massacred their village’s inhabi- issues, nor are they any less provocative of startling imagery. Fellow New Wave but somehow more menacing, mise en nightlife of Weimar Germany where that fuses noir, city film, urban comedy florid brothers-in-bloodshed partnership. after being framed for armed robbery tants. Played by the young and then than her celebrated films of the ’60s. director Jiří Menzel stars as a nerdy, scène than that of his famed The Cabinet characters exist in a world of superficial and social realism into a story of a Sometimes overlooked in favour of the by the same gang. Van Cleef once largely unknown Burt Reynolds, Joe philandering ob-gyn opposite a quixotic of Dr. Caligari. But the paranoia, the glamour, sleazy carnivals and decadent straight-laced traffic cop (played by director’s more sombre and deeply again emerges as perhaps the spaghetti becomes an ideal vessel: always waiting, young nurse played by Dagmar Bláhová prophetic Germanic terror of venal music halls. A major work of German Metropolis’ Gustav Fröhlich) undone by fatalistic The Great Silence, this is an western’s key actor; Petroni (Tepepa) thinking and then diving into action (Maria Ramsay in the original 1985 series powers making us commit vile acts, is Expressionism, it was also one of the a fun-loving femme fatale (the wonderful incisive and eminently entertaining provides characteristically tense for a few lethal beats. Aided by Ennio of Neighbours on Channel 7!). just as keenly felt as in his earlier work. most critically acclaimed films of its time. Betty Amann). addition to both the “spaghetti canon” and well-paced direction; and Ennio Morricone’s expressive score, repurposed 35mm print courtesy of the National Film Archive and the oeuvre of one of its most Morricone delivers one of his most years later for Tarantino’s Kill Bill, the in Prague. important proponents. audacious and bizarre scores. film would go on to inspire countless grindhouse plots of merciless revenge.

BREAK FOR MIFF MELBOURNE CINÉMATHÈQUE

WEDNESDAY 19 SEPTEMBER WEDNESDAY 26 SEPTEMBER 3 OCTOBER WEDNESDAY 3 OCTOBER 10–31 OCTOBER WEDNESDAY 10 OCTOBER WEDNESDAY 17 OCTOBER WEDNESDAY 24 OCTOBER WEDNESDAY 31 OCTOBER CONTESTING HISTORY: ON DANGEROUS GROUND: BICENTENNIAL LEGACIES IDA LUPINO, TRAILBLAZER

7:00PM 7:00PM 6:30PM 7:00PM 7:00PM 7:00PM 7:00PM SOMETHING DIFFERENT FRUIT OF PARADISE AUSTRALIA DAZE THE HITCH-HIKER OUTRAGE THE SEA WOLF MOONTIDE VĚRA CHYTILOVÁ (1963) VĚRA CHYTILOVÁ (1969) PAT FISKE (1988) IDA LUPINO (1953) IDA LUPINO (1950) MICHAEL CURTIZ (1941) ARCHIE MAYO (1942) 81 MINS – UNCLASSIFIED 15 +* 96 MINS – UNCLASSIFIED 15 +* 75 MINS – UNCLASSIFIED 15 +* 71 MINS – UNCLASSIFIED 15 +* 75 MINS – UNCLASSIFIED 15 +* 100 MINS – UNCLASSIFIED 15 +* 94 MINS – UNCLASSIFIED 15 +* Concordant with the faraway burgeoning The most experimental film of the The Bicentennial celebrations marking Overall directed by Fiske, this panoramic Tough as nails as an actress, Ida Lupino This tale of masculinity under threat Made at a time when it was virtually Recently restored to its original length, This fascinating and highly atmospheric of second-wave feminism, Chytilová’s Czechoslovak New Wave had Chytilová the arrival of the First Fleet in Sydney Cove “tour de force” (Sylvia Lawson) covering (1918–1995) exudes a searing tenacity and from itself is one of the great late noirs impossible to even mention the word Curtiz’s highly atmospheric adaptation “missing link” between French poetic debut feature intertwines an ostensible again collaborating with her Daisies on January 26, 1788, and the subsequent the Bicentennial “celebrations” on an unmistakable sense of compassion. of the classic period. Against a stunning “rape” in a Hollywood movie, director of Jack London’s psychological adventure realism and American film noir features documentary on champion gymnast Eva cohort of cinematographer Jaroslav European occupation and invasion of January 26, 1988 brings together footage While she had a unique, luminous Californian desert backdrop, a serial and co-writer Lupino’s second feature novel is “a triumph of studio filmmaking” Jean Gabin as a drunken dockworker Bosáková with veristic but dramatised Kučera, screenwriter and costume Australia, have long been contested shot by over 20 different crews (helmed presence on screen, Lupino enjoyed more killer traps two men (Edmond O’Brien turns this limitation into the film’s razor’s (J. Hoberman) focusing on a sadistic who fears he has committed murder and scenes from the life of a frustrated designer Ester Krumbachová, and editor in terms of what they can tell us about by filmmakers such as John Hughes and satisfaction while directing. After a and Frank Lovejoy) en route to a edge. As society denies the protagonist’s ship’s captain (Edward G. Robinson), hides out on a barge where he witnesses housewife. Both are strikingly shot Miroslav Hájek, in addition to the Studio national identity, the multicultural makeup Jeni Thornley) throughout Australia to terrific early career in England and the fishing trip. With exquisitely calibrated (Mala Powers) overwhelming distress, who runs his vessel like a concentration the attempted suicide of a young woman by Jan Čuřík; the jazzy soundtrack Ypsilon theatre troupe. In this gnomic of Australian society, inequality, the document diverse individual responses US, including key roles in such significant tension, Lupino’s masterly control of it instead tries to impress upon her the camp, up against a United Nations of (Lupino). Gabin and Lupino provide a is courtesy of the Semafor theatre’s and wildly psychedelic farewell to the sometimes jingoistic vision of history to the day’s events, protests and jingoistic films as High Sierra, The Sea Wolf, The a predominantly male cast prefigures need to return to normalcy and the “fellow” travellers – an accidental truly distinctive coupling in this strange, Jiří Šlitr. Preceded by Ceiling Věra Summer of Love-like ambience and peddled by various institutions, and ceremonies. Also drawing upon mass Hard Way and The Man I Love, she battled Kathryn Bigelow’s genre innovations comfort of the “white-picket-fence” passenger (Alexander Knox), a rebellious doom-laden and often-existential psy- Chytilová (1961) 41 mins Unclassified freedoms of the Prague Spring, Edenic the troubled legacy of these events media coverage, this deftly edited through restrictive barriers to form her by over three decades. Gorgeously shot promises of marriage. This searing seaman and a prison fugitive (a wonder- chological drama containing many fasci- 15 +* Chytilová’s celebrated FAMU mythology feeds into an absurdist, richly and actions for Indigenous Australians. “time-capsule” compilation finds its own production company, The Filmakers, by noir-VIP Nicholas Musuraca (Out of condemnation of patriarchal complicity, fully hardboiled Lupino) – trying to escape. nating associations: Fritz Lang directed graduation film is an Antonioniesque, symbolic, relationship-cum-serial-killer But the Bicentennial also provided an most pointed and critical moments and contributed to a string of important the Past), and co-written by Lupino and “victim blaming” and rape culture is a This moody anti-fascist parable features a number of its initial scenes; Salvador semi-documentary portrait of the drama, accompanied throughout by a opportunity for many different forms in the contrast between the decadent films during the 1950s before working ex-husband Collier Young, it contains a remarkably frank, tense and personal contributions by many key figures of the Dali worked on the subjective “drunk” boredom and objectification endured rapturous Zdeněk Liška score. of cultural expression as well as probing celebrations of the super-rich on Sydney extensively as a director in television. chilling performance by William Talman portrait of the psychological effects Hollywood Blacklist including writer sequences; John O’Hara wrote the script. by a fashion model. reflections on Australian history, society Harbour and the timely protests by Her influence as a trailblazer lasted long as the sadistic killer of the title. of institutionalised sexual violence. Robert Rossen and co-star John Garfield. With Claude Rains and Thomas Mitchell. Digital print courtesy of the National Film Archive and culture. These included various various Aboriginal communities. “This afterwards. Often shooting in exterior Digital prints of both films courtesy of the National in Prague. 35mm print courtesy of The Library of Congress. 35mm print courtesy of the British Film Institute. initiatives that supported cultural work movie is a triumph” (Bill Collins). locations, Lupino showed considerable Film Archive in Prague. that both celebrated and questioned the skill in portraying American urban and Courtesy of the National Film and Sound Archive, legacy of the 200-year European presence rural landscapes as beautiful wastelands. Australia in Australia. This program reflecting Her films were often about women in on the 30th anniversary of these events, turmoil, but also spread the net wider features a selection of independent to consider social problems with an documentaries that explore this history understanding of societal structures and cultural moment in a wide variety that inhibit the behaviours of and paths of ways, ranging from the Pat Fiske- for women. While also an A-list actor, produced Australia Daze, which documents screenwriter (including for several of her the events, celebrations and protests own features and Don Siegel’s Private taking place on “Australia Day”, to Tom Hell 36, in which she also starred) and Zubrycki’s controversial Amongst Equals, musician, Lupino was notably only the a partisan but objective documentary second woman admitted into the originally commissioned by the ACTU Directors Guild of America, after Dorothy 9:15PM 8:45PM 8:00PM 9:45PM 8:25PM 9:55PM 8:25PM 9:50PM 8:50PM 8:45PM and funded by the Bicentennial Authority Arzner. Following the collapse of her PREFAB STORY TRAPS AMONGST EQUALS ALL THAT IS SOLID THE BIGAMIST THRILLER: “THE BRIDE WHO DIED TWICE” HARD, FAST AND BEAUTIFUL TWILIGHT ZONE: “THE MASKS” PRIVATE HELL 36 JUNIOR BONNER to provide an audio-visual history of production company, Lupino migrated to VĚRA CHYTILOVÁ (1979) VĚRA CHYTILOVÁ (1998) TOM ZUBRYCKI (1991) JOHN HUGHES (1988) IDA LUPINO (1953) IDA LUPINO (1962) IDA LUPINO (1951) IDA LUPINO (1964) DON SIEGEL (1954) SAM PECKINPAH (1972) the Australian trade-union movement. the small screen, where she maintained 96 MINS – UNCLASSIFIED 15 +* 124 MINS – UNCLASSIFIED 18 + † 93 MINS – UNCLASSIFIED 15 +* 54 MINS – UNCLASSIFIED 15 +* 80 MINS – PG 51 MINS – UNCLASSIFIED 15 +* 78 MINS – UNCLASSIFIED 15 +* 25 MINS – PG 81 MINS – UNCLASSIFIED 15 +* 100 MINS – G This program presents a small selection her artistic success as an actor and, more This scathing and often very funny This under-seen, pitch-black farce ranks of work – including John Hughes’ Zubrycki’s controversial, still provocative Partly funded as a Bicentennial prominently, preserved her distinctive This noir-ish melodrama was Lupino’s By 1962, Lupino had amassed over 30 This key work in Lupino’s directorial This memorable episode of the iconic Lupino’s taut screenplay (with Collier Peckinpah’s modern-day cattle-punching rubbishing of life under Normalisation amongst the director’s most provocative speculative All That is Solid – that was and rarely screened documentary about commission through the University directorial sensibility. This season fifth feature and, in many ways, her credits directing various TV shows career, shot on a low budget over 30 days, TV series (scripted by the show’s creator Young) for Siegel’s bold and muscular western is a surprisingly gentle and (1969–1987) has had scant exposure and unforgettable films, as fiercely instigated or inspired by the Bicentennial, the Australian trade-union movement of Queensland Art Museum and the features selections from all of these signature work. Told in flashback, it tells – including two episodes of Alfred follows a young, talented tennis player Rod Serling and holding more than policier reveals her as an acute observer autumnal portrait of an ageing and abroad; the local authorities did their feminist as it is nonetheless ribald and focusing on the urgent work undertaken was originally commissioned by the ABC, Hughes’ speculative, essayistic artistic pursuits and mediums – with a the story of a man (Edmond O’Brien) Hitchcock Presents – and would go on (Sally Forrest) who is beaten down by a passing resemblance to Poe’s The of masculine codes of violence and a itinerant rodeo star (Steve McQueen) utmost to suppress it domestically for pessimistic. Burlesquing the rape-re- in independent documentary and revealing ACTU and funded by the Bicentennial documentary is an examination of particular focus on the groundbreaking who has been leading a double life torn to direct dozens more throughout the her domineering mother (Claire Trevor). Masque of the Red Death) sees Robert progenitor of the likes of Kathryn returning home to small-town Arizona many years, too. Working once more venge genre, it concerns a veterinarian the complex and conflicted responses Authority to provide an audio-visual the future of Australia in light of the features Lupino completed in the early between his infertile first wife (Joan 1960s before concluding her directorial Not the typical tale that ultimately vilifies Keith as a dying millionaire doling out Bigelow. Steve Cochran and Howard Duff to compete in its annual contest. This with Jaromír Šofr, her cameraman from and the fallout from the very particular to the contested events of 1988. This history stretching from the birth of the processes of post-industrialisation, 1950s (the four films fromOutrage to Fontaine) and the waitress he makes career. During this incredibly fertile an ambitious mother, Lupino shows justice to his grasping relatives during star as cops who find themselves first warmly astute and leisurely comedy- Ceiling and A Bagful of Fleas, Chytilová vengeance she obtains after being program is co-curated by John Hughes movement in the mid-1850s and the Walter Benjamin’s ruinous “angel of The Bigamist) – to offer a multifaceted pregnant (Lupino). A key instance of the period, Lupino managed to secure real understanding of a woman’s painful an ominous Mardi Gras in New Orleans. chasing, then fatalistically tempted by, drama was the director’s surprising presents a frantic, wide-angled, noisy sexually assaulted by a corrupt MP and and Adrian Danks. formation of the Australian Labor Party history” and Marx’s quixotic vision of portrait of one of the most important “social issue” movie, Lupino tackles a directing credits on nine episodes of path towards independence and success. In one of her more emotionally charged a $300,000 robbery haul before becoming follow-up to the incendiary Straw Dogs, mosaic of life at a monstrous, underdone, a slimy advertising executive. Chytilová’s to key events like the 1891 shearers’ strike modernity. Mixing together documentary figures in American film history. then taboo subject in a strikingly low-key, the relatively short-lived (1960–62) Boris The film resists saccharine resolution and TV assignments, Lupino’s characteristic entangled with Lupino’s tough-as-nails and features Lupino in the majestic role debris-ridden high-rise housing estate antepenultimate fiction film is a family and the 1988 Bicentenary. This pro-union and fiction, interviews and sketchy sombre manner. Although critical of male Karloff-hosted anthology series, Thriller. succeeds in expressing its sympathies focus on the human rather than the nightclub singer. Lupino depicts a of the family’s neglected matriarch who on Prague’s outskirts, cocking a vicious affair, with camerawork from son Štěpán but objective history, focusing on the Brechtian set pieces, this state-of-the- systems of power, and examining the This, the highly atmospheric penultimate to both male and female perspectives. macabre ironically renders the bizarre noir-inflected world where no one goes provides a bedrock for her affectless snook at its Potemkin village pretensions Kučera and costuming by daughter struggle between capital and labour, and nation mosaic draws on the forms hypocrisies of marriage and social Lupino-directed episode, is set in an Trevor’s experience in the role of a finale that much more affecting. unpunished and easy temptation only husband (Robert Preston) and progeny. to community building. Tereza Kučerová. With Dagmar Bláhová. featuring the candid testimony of many of contemporary TV as well as the standards in the 1950s, this haunting unnamed Latin-American country, and hardened, world-weary woman is central begets degradation and betrayal. With Exquisitely shot by Peckinpah’s frequent unionists, was refused sanction by the profoundly “historical” work of Kluge, suburban drama provides a sad portrait tells the story of a woman (Mala Powers) to the film’s emotional intensity. Dean Jagger and Dorothy Malone. collaborator, Lucien Ballard, it co-stars Digital print courtesy of the National Film Archive 35mm print courtesy of the National Film Archive ACTU and has long languished in Godard and Straub-Huillet to provide of quiet lives left bereft by circumstance. who fakes her death to avoid an arranged Ben Johnson and Joe Don Baker. in Prague. in Prague. 35mm restored print courtesy of the UCLA Film and 35mm print courtesy of the British Film obscurity aside from some “illegal” a consciously parodic and bracingly marriage to a sadistic colonel. 35mm restored print courtesy of the UCLA Film and Television Archive. Institute Archive. 35mm print courtesy of the British Film Institute. screenings in the early 1990s. fragmentary postmodernist vision. Television Archive. Courtesy of the National Film and Sound Archive, Australia.

7–21 NOVEMBER WEDNESDAY 7 NOVEMBER WEDNESDAY 14 NOVEMBER WEDNESDAY 21 NOVEMBER 28 NOVEMBER – WEDNESDAY 28 NOVEMBER WEDNESDAY 5 DECEMBER 12–19 DECEMBER WEDNESDAY 12 DECEMBER WEDNESDAY 19 DECEMBER ECHOES FROM TAIWAN: 5 DECEMBER ANARCHY AND ECSTASY: THE MAJOR WORKS OF ON BODY AND SOUL: THE THE INTERMEDIATE EDWARD YANG PASSION ACCORDING TO CINEMA OF DUŠAN

7:00PM 7:00PM 7:00PM AMIEL COURTIN-WILSON 7:00PM 7:00PM MAKAVEJEV 7:00PM 7:00PM A BRIGHTER SUMMER DAY TAIPEI STORY YI YI HAIL RUIN INNOCENCE UNPROTECTED WR: MYSTERIES OF THE ORGANISM EDWARD YANG (1991) EDWARD YANG (1985) EDWARD YANG (2000) AMIEL COURTIN-WILSON (2011) AMIEL COURTIN-WILSON DUŠAN MAKAVEJEV (1968) DUŠAN MAKAVEJEV (1971) 237 MINS – UNCLASSIFIED 15 +* 119 MINS – PG 173 MINS – M 104 MINS – R AND MICHAEL CODY (2013) 75 MINS – UNCLASSIFIED 15 +* 84 MINS – R 90 MINS – MA One of the wonders of late twentieth- Yang’s intimate and epic, specific and This bracing portrait of urban isolation Yang’s intimate epic is a bittersweet Over the past two decades, Melbourne- Courtin-Wilson’s visionary and deeply This meditative and elegiac tale of lovers Just as his native Yugoslavia was In 1941, Serbian gymnast Dragoljub Makavejev’s incendiary punk provocation, century world cinema was the school of sprawling, seemingly immemorial and and modern malaise in a rapidly changing celebration of culture and life that charts based filmmaker and visual artist Amiel immersive debut “fiction” feature burrows on the run pays tribute to the folkloric situated in the turbulent middle-ground Aleksić wrote, directed and starred a key work of the early 1970s European talented directors who emerged through urgent opus is now widely regarded as Taipei stars filmmaker Hou Hsiao-hsien the journey of a multi-generational family Courtin-Wilson (1979–) has carved out deep into the troubled psyche of its traditions of Cambodia. Phirun (Rous between the communist East and the in a naively narcissistic folktale about counterculture, premiered to great the wave of “New Taiwan Cinema” and a “masterpiece of modern cinema as and singer Tsai Chin (who would later over the course of one year, beginning a distinctive body of work unlike any central character exploring subjectivity, Mony) and Sovanna (Sang Malen) escape capitalist West, Dušan Makavejev (1932–) a virginal young girl enamoured of the controversy in and outside of Yugoslavia. its descendants during the 1980s and well as a defining work of the New Taiwan marry Yang) as the middle-class couple with a wedding and ending with a funeral. other in contemporary Australian film. environment and pained experience in an exploitative and violent world as they swayed from social realism to sexual virile prowess of a heroic Serbian Deftly blending documentary and fiction, early 1990s. Filmmakers such as Hou Cinema” (Godfrey Cheshire). Spanning whose relationship slowly disintegrates Each sprawling frame is imbued with a An unabashed expressionist deeply rooted an unflinchingly direct and profoundly become deeply entwined in each other. revolution in a lively and controversial strongman. Makavejev takes portions poststructuralist semiotics and sexual Hsiao-hsien, Chen Kun-Ho and Tsai a four-year period from 1959, this is an against the backdrop of a city caught compassionate clarity that explores every in both art history and collaborative, cinematic fashion. This truly sensory With breathtaking cinematography, directorial career that spanned the of that unreleased film and intercuts sociology, it begins as an investigation Ming-liang reinvigorated a national intimate study of a young schoolboy between its new globalised modernity character through a single, binding process-based moving-image practices, film established the director as one of the Courtin-Wilson and Cody’s film creates 1950s to the 1990s. Coming of age in them with footage of the Nazi Occupation, into the life and work of controversial cinema focusing on everyday life, the (Chang Chen) and his family life, as and traditional values. A key early work experience. This focus is the essence of Courtin-Wilson’s work is multi-hyphenate most significant and singular voices in memorable imagery of fire and sky, vast the charged atmosphere of post-war along with interviews with Aleksić and psychologist and philosopher Wilhelm conflict between the past and the present, well as a tale of alienated youth set of the New Taiwan Cinema, Yang’s second Yang’s expansive but minutely observed filmmaking in extremis. Between the Australian cinema. Daniel P. Jones and bodies of water, and various shades of Belgrade, Makavejev was a strident fellow cast and crew to create a montage Reich, before exploding into a free-form historical trauma, identity and rapid against the political, social and cultural feature sharply focuses on sociological final masterpiece, now widely regarded cinema and the gallery, the sculpted and Leanne Letch, playing largely autobi- darkness. Winner of the Horizons Special Marxist whose formative experiences of attractions that slyly riffs on the several satirical narrative of sexual and aesthetic urbanisation. Edward Yang (1947–2007) privations of mid-century Taiwan. Both observations and is imbued with a sense as one of the great movies of the last 20 the found, the body and the spirit, his ographical characters, are extraordinary in Jury Prize at the Venice Film Festival. with death and decimation would inform possible readings of the film’s title. Roger liberation, as befitting a nation on the was also one of the leading figures in crime narrative and social drama, the film of loss and impending doom set amongst years, a film whose profound emotional work circles the outer bounds of human the lead roles. Preceded by Cicada Preceded by The Death of a King a lifetime of sharply focused satire. As Ebert called this truly unique compilation verge of socio-political – and psychosex- this movement at a time when Taiwan was turns on the discordance and confluence the neon lights and alienating urban and cultural resonance brings to mind experience, often portraying singular, Amiel Courtin-Wilson (2009) 9 mins Amiel Courtin-Wilson (2014) 7 mins a young teenager roaming the streets film “one of the most delightful movies ual – implosion. Makavejev’s seminal and shaking off the legacy of authoritarian of Taiwanese, Chinese and Western streetscapes of the modern city. the panoramic form of Altman’s Short marginal figures – actors, wild men and Unclassified 15 +* This intense Unclassified 15 +* Courtin-Wilson’s on the night the war in Europe was I’ve ever seen, and one of the hardest playful film remains a definitive portrait of rule and strict censorship. This marked cultures, as found in the title’s reference Cuts. It was named best film of the year women, lovers on the run – caught in the direct-to-camera testimony also features impressionistic and cathartic work declared over, Makavejev observed the to describe”. an entire generation’s aesthetic and Courtesy of the Cineteca di Bologna. the beginning of a new spirit of openness to Elvis Presley’s rendition of “Are You by many critics including Susan Sontag throes of ecstatic creation-destruction the words and galvanising presence of documents the mourning rituals for corpses of defeated German soldiers libidinal unshackling. 35mm print courtesy of the British Film in the arts. Yang’s special contribution Lonesome Tonight?” Largely unavailable and Yang received the Best Director cycles. The multi-disciplinary body of Daniel P. Jones. Cambodia’s deceased king. stacked along footpaths as throngs of Institute Archive 35mm print courtesy of the National Film and Sound was his obsessive focus on capturing the since the mid-1990s, Yang’s masterful award at Cannes. Kent Jones called it influence that feeds into and across joyous Yugoslavs danced victoriously Both films to be introduced by the filmmaker. Both films to be introduced by the filmmaker. Archive, Australia. feeling of sprawling contemporary city orchestration of plot, visual composition “the apotheosis of the new Taiwanese Courtin-Wilson’s films is remarkable; a in the streets. This bizarre and darkly life, primarily in Taipei, where he saw and experiential detail is seen here cinema”. lineage that extends from the prose of the absurdist juxtaposition would influence a society shaped by Confucian values restored to its original epic length and dark Romantics Bataille and Rimbaud to his own sensibilities as a director, 35mm print courtesy of the National Film and rushing at full speed into a hyper-capital- full audio-visual scope. their progeny in contemporary visual arts planting the seeds of an uncanny ability Sound Archive, Australia. ist future. But his piercing vision of urban from Australia’s James Clayden and Bill to find perverse humour in the deadly 35mm print courtesy of the Cineteca di Bologna. anomie, drift and desolation also proved Henson to France’s Philippe Grandrieux serious. Internationally celebrated for to have worldwide resonance. Yang was and Italy’s Pier Paolo Pasolini. Added films such as Innocence Unprotected, still a toddler when his family, like some to this is a level of collaborative practice WR: Mysteries of the Organism and two million other citizens, emigrated all but unheard of among Australia’s Sweet Movie, two of which are included in from mainland China to Taiwan after the feature filmmakers, from his work with this season of imported prints, his hybrid, end of the Civil War. One of the richest performers (often playing versions of hypertextual style – combining 9:10PM 9:10PM 8:55PM 8:25PM 9:45PM 8.35PM themes in his films would become the themselves in films like Hail) to his documentary, fiction and archival footage THE TERRORIZERS THE SILENT EYE BASTARDY LOVE AFFAIR, OR THE CASE OF THE MAN IS NOT A BIRD MANIFESTO search for identity – personal, cultural, collaborations with composers and sound to incisively critique contemporary EDWARD YANG (1986) AMIEL COURTIN-WILSON (2017) AMIEL COURTIN-WILSON (2008) MISSING SWITCHBOARD OPERATOR DUŠAN MAKAVEJEV (1965) DUŠAN MAKAVEJEV (1988) social and political – in the small island artists, often drawn from Melbourne’s society, Marxism, sex, violence and bodily 109 MINS – M 70 MINS – UNCLASSIFIED 15+* 83 MINS – MA DUŠAN MAKAVEJEV (1967) 81 MINS – UNCLASSIFIED 15 +* 95 MINS – R nation. But Yang’s work was equally thriving inner-city experimental music functions – earned him a place at the 70 MINS – M concerned with such universal subjects scene. Beginning with his celebrated head of the radical Yugoslav Black Wave, as missed opportunities and the age-old Yang’s third feature is his most docu-portrait of Indigenous theatre One of Courtin-Wilson’s most recent and Before he was “Uncle” Jack Charles, the and expulsion from his country of birth. This infinitely mind-bending exploration Makavejev’s groundbreaking first feature For this “deliciously bawdy fairy tale spun conflicts between parents and children. enigmatic, metaphysical and explicitly legend and man-of-the-streets Uncle striking projects – produced as an aside subject of Courtin-Wilson’s frank portrait Makavejev’s profoundly energetic and of love, freedom and shared political is a warts-and-all portrait of workers in in confectionery colours” (Sheila This season profiles the key films of dark film, weaving an elliptical tapestry of Jack Charles (Bastardy), Courtin-Wilson to ongoing documentary work with the was a homeless, heroin-addicted burglar libidinous films are ripe for rediscovery attitudes between a young telephonist a mining complex in a remote region of Benson), Makavejev returned to shoot his Yang’s career, including a pair of his cryptically interconnected urban stories. pares narrative down to its sparse, legendary free-jazz pianist Cecil Taylor and washed-up actor struggling to survive by modern audiences. and a middle-aged rodent exterminator Yugoslavia. Emerging from the “new film” first film in his native Yugoslavia since urgent and enigmatic portraits of the Shot through with an aura of subtle elemental basics, pulling his films – is a hypnotic portrait of an improvised on Melbourne’s inner-city streets. A child of is also a tragic romance set within the movement made possible by decentrali- W.R. – shortly before the nation’s chaotic clash of histories, sensibilities and menace, the film’s emphatic embrace of back-and-forth from shooting to editing collaboration between Taylor and the Stolen Generations, Charles began gleefully satirical confines of Makavejev’s sation and the democratisation of the dissolution. Loosely adapting Émile cultures in modern Taiwan – The modernist ambiguity, startling imagery, in order to more fluidly evoke the psyches renowned Japanese butoh dancer Min acting in Melbourne’s underground theatre freewheeling cinema. The film therefore film industry, Makavejev grasped the Zola’s novella Pour une nuit d'amour, the Terrorizers and Taipei Story – alongside fractured storytelling and black-as-pitch and fleeting emotional states of his films’ Tanaka. Filmed over three days in an as a teenager and eventually founded the has no choice but to quickly spiral into opportunity to express his idiosyncratic action is set in 1920 in a village in an the sprawling “memory works” that are comedy presents a bracing challenge to subjects. This season presents many of intense, expressive and impressionistic first Aboriginal theatre company, before an exercise in reflexivity that calls into vision of personal freedom. Following unnamed Central European country his defining and lasting legacy:Yi Yi and conventional viewer sensibilities. The Courtin-Wilson’s most adventurous and style, the film explores the outer limits drugs and crime took hold. Courtin- question the earnestness of both intimacy the contrasting exploits and sexual overripe with sexual and revolutionary the intimate but monumental A Brighter city of Taipei looms as an all-encompass- celebrated features alongside a range of of cinema and the difficulties of capturing Wilson’s intimate documentary portrait and socialist realism. Tongue-in-cheek relationships of an assembly expert intrigues. The eclectic cast includes Summer Day. ing presence shadowing and constraining documentaries and short works. a performance where the fundamental follows Charles for six years as he interviews with sexologists and and a violent smelting worker, the film Camilla Søeberg, Alfred Molina, Simon the characters. Yang subsequently essence lies in invention, impermanence, negotiates the road to redemption and criminologists further demonstrate aims to “show how people are permeated Callow (with whom the director had a admitted the film’s complex play with embodiment and animation. Preceded reclaim a truly remarkable life and career. the director’s dexterity in blending by ideologies, and how their conduct, celebrated falling out) and Chris the real and the fictional was even a by Adolescent Amiel Courtin-Wilson Preceded by Charles Amiel Courtin- genres along with his skill in fashioning gestures, opinions, thoughts, are Haywood, while the delightful animated mystery to himself. (2002) 5 mins Unclassified 15 +*This early Wilson (2016) 7 mins Unclassified 15 +* sophisticated humanistic melodrama. unconsciously influenced by ideological titles are by Dušan Petričić. impressionistic work by Courtin-Wilson Moody, intimate and deeply poetic portrayal hypnosis” (Makavejev). 35mm print courtesy of the Taipei Film Archive. 35mm print courtesy of the British Film provides a rhythmic, kaleidoscopic and of a homeless man on the outskirts of Institute Archive 35mm print courtesy of The British Film immersive vision of teenage ritual. Oklahoma City; winner of the National Institute Archive. Portrait Gallery’s Digital Portraiture Award.

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