17 February 24 February 02 March 09 March 16 March MELBOURNE CINÉMATHÈQUE 2016 SCREENINGS Wednesdays from 7pm at ACMI Federation Square, Melbourne* Presented by the Melbourne Cinémathèque and the Australian Centre for the Moving Image. 10 FEB MAR 17 FEB–02 09–23 MAR Curated by the Melbourne Cinémathèque.

OPENING01 NIGHT THE PARADE’S02 GONE BY: THE 7:00 THE LEOPARD 7:00 OSSESSIONE 7:00 THE STRANGER BARBARA03 STANWYCK: 7:00 STELLA DALLAS 7:00 DOUBLE INDEMNITY Supported by Screen Australia and Film Victoria. Luchino Visconti Luchino Visconti Luchino Visconti King Vidor Billy Wilder The opening of our 2016 program is WORLD OF LUCHINO VISCONTI (1963) 187 mins PG (1943) 140 mins PG (1967) 104 mins M BALL OF FIRE (1937) 106 mins (1944) 110 mins PG marked by a true treat for cinephiles, MINI MEMBERSHIP Luchino Visconti (1906–1976) is one of A Sicilian aristocrat—Burt Lancaster in Visconti’s directorial debut, illicitly adapting Visconti’s faithful and moody adaptation of Barbara Stanwyck (1907–1990) was a A working-class woman marries a wealthy Wilder’s urgent and brutal tale of adultery, QUE the Australian premiere of a restored Admission to 3 consecutive nights: the towering figures of Italian cinema, a towering and beautifully modulated James M. Cain’s novel The Postman Always Albert Camus’ widely celebrated existentialist/ diminutive figure who nevertheless had society man yet can never fully infiltrate his betrayal and murder is a cynical, witty È 35mm print of Ernst Lubitsch’s first colour Full: $29 / Concession: $24 (GST inclusive) a true giant of postwar neo-realism performance—wistfully reflects on Rings Twice, casts Massimo Girotti and absurdist novel is one of the director’s most a towering presence on screen and off. world, a gulf put into stark relief after the and sleazy noir derived from James M. film, Heaven Can Wait. The film has whose work flowed masterfully across the passing of the old order collapsing Clara Calamai as the doomed lovers with underrated and least seen movies. Marcello Long underrated, Stanwyck’s legendary birth of their daughter (Anne Shirley). Earning Cain’s razor-sharp crime novel, featuring recently been restored by the Academy numerous genres and adaptations. around him. Visconti’s opulent and earthy murder on their minds. The narrative is Mastroianni stars as an almost absent- life and career is the focus of several her a Best Actress Oscar nomination, this a pungent screenplay honed by Raymond ANNUAL MEMBERSHIP Film Archive and 20th Century Fox in While he made relatively few films, his masterwork (breathtakingly shot by the great embryonic film noir, while the style prefigures minded, disengaged murderer who must then recent books, stimulating an ongoing was Stanwyck’s favourite role and it’s easy Chandler (who makes a brief appearance) Admission for 12 months from date of purchase: collaboration with The Film Foundation; accomplishments spanned over three Giuseppe Rotunno) perfectly captures the neo-realism—even if, due to its banning by contemplate his own lack of empathy and interest in her eternally modern style. to see why—beneath the vulgar exterior lies and enhanced by John F. Seitz’s atmospheric, Full: $155 / Concession: $135 (GST inclusive) it comes to Melbourne very soon after decades and maintained an unqualified depth and cogent melancholy of Giuseppe Fascist authorities and copyright difficulties guilt. Visconti deploys an uncharacteristically A consummate professional who valued a vulnerable and tragically self-sacrificing chiaroscuro cinematography and Miklós MATH 10 FEB Opening Night its unveiling at its US premiere in late beauty and formal rigour. Known for his good relationships with directors, actors Tomasi di Lampedusa’s widely celebrated in the US, it went largely unseen until both muted stylistic palette and minimalist style woman. Vidor’s film, based on the novel by Rózsa’s foreboding score. Stanwyck’s slippery É 2015. Please join us downstairs at luscious mise en scène defined by often novel of the Risorgimento. A profound work movements were well-established. But the (brilliantly shot by Giuseppe Rotunno) to and crew members, Stanwyck navigated Olive Higgins Prouty and previously adapted in femme fatale manipulates Fred MacMurray’s FRIENDS OF CINÉMATHÈQUE 01 ACMI Cafe & Bar after the film to Admission for 12 months from date of purchase: epic exteriors, sumptuous interiors, of historical filmmaking, the extended ball operatic sensibility, unfettered emotion and burrow deeply into the ennui and despair of an extremely rewarding Hollywood career the 1920s, is at once a tearjerker and a biting experienced and likeable but naive insurance celebrate the launch of the Melbourne and ornamental detail, his intimate sequence is one of the great “end of an fascination with characters at the mercy of his central character. With Anna Karina. 35mm spanning the pre-Code era, the rise of social critique of a society obsessed with salesman into murdering her husband. Their Full: $280 / Concession: $250 (GST inclusive) 17 FEB– The Parade’s Gone By: Cinémathèque’s 2016 program. control of the frame is apparent not only era” passages in the cinema. The stellar romantic obsession are pure Visconti. 35mm print courtesy of Cinecittà Luce. TV, Westerns, comedies, melodramas class and social climbing. “The picture is all crime is near perfect but, slowly, Edward The Friends of Cinémathèque membership is a way for you 02 MAR The World of Luchino Visconti 02 in his formal compositions, but in the supporting cast includes Terence Hill, Pierre print courtesy of Cinecittà Luce. and films noir. On screen she called Stanwyck’s, and worth seeing for her brassy, G. Robinson’s methodical fraud investigator to support the vitality of the Melbourne Cinémathèque, an independently deployment of both black-and-white and Clémenti and Serge Reggiani as well as the shots, constantly delivering superb touching, all-out performance” (Pauline Kael). unravels their cold-blooded scheme. organised, not-for-profit organisation. In addition to annual membership colour cinematography (often lensed Claudia Cardinale and Alain Delon as the performances illuminated by her you will receive: 09–23 Barbara Stanwyck: by the greats of European cinema), film’s almost impossibly beautiful young expressive face, distinctive voice and • 1 complimentary ticket for an ACMI programmed cinema session MAR Ball of Fire 03 impressive cinematic vistas and potent romantic couple. Score by Nino Rota. 35mm unequalled intuition. Forever in control, • 3 × single passes to bring a friend to a Cinémathèque screening any time in the political allegories. Visconti drew strong print courtesy of Cinecittà Luce. she was the toughest screen goddess calendar year performances from non-professional of the Golden Age, equally adept at • Discounted member prices for ACMI programmed cinema sessions 30 MAR Footage Fetishist: Erich von actors in his early films and worked with comedy and melodrama in a film career • 15% discount at ACMI Cafe & Bar and the ACMI Store Stroheim, Total Filmmaker an impressive slate of stars, both titans of bridging four decades and over 80 films. • Exclusive invitations to cinema events, previews and screenings Part One 04 the Italian film industry and accomplished She worked with some of the leading • Subscription to the ACMI Film Member e-news actors from Hollywood (Marcello directors of her time, including William A. • An ACMI Film Membership card that can be used to scan into Cinémathèque sessions. 06 APR Fassbinder: A Collaboration Mastroianni, Burt Lancaster, Claudia Wellman, Preston Sturges, Douglas Sirk, with the Melbourne Queer Cardinale, Anna Magnani, Alain Delon). Billy Wilder, King Vidor and Frank Capra, Film Festival MEMBERSHIPS AVAILABLE AT: MELBOURNE CIN 05 Born a Milanese nobleman, Visconti after which she successfully moved 2016 SCREENINGS later famously became invested in leftist to television as both an actress and • ACMI Tickets and Information Desk (03 8663 2583) 13 APR– Beautiful Losers: • Online at www.acmi.net.au (booking fees apply for online transactions) 7:00 HEAVEN CAN WAIT politics, and his subsequent love of music, 9:30 BELLISSIMA 8:55 LA TERRA TREMA producer. Her impeccable comic timing, 9:00 THE LADY EVE 9:00 THE STRANGE LOVE 02 MAY Robert Altman’s Ernst Lubitsch theatre and opera infuse his work with Luchino Visconti Luchino Visconti passionate intelligence and devastating Preston Sturges OF MARTHA IVERS * Admission 18+ except where classification is indicated. 06 Panoramic Cinema a deep lyricism. Through multi-layered melodramatic prowess, cements her as * Membership does not ensure admission: Members will only be admitted to cinema (1943) 112 mins G (1952) 108 mins PG (1948) 160 mins G (1941) 97 mins PG Lewis Milestone Lubitsch’s first colour film is a remarkably plots and daring formal complexity A rare early comedy from the great Marxist Emerging from an aborted Italian Communist one of the most consistent and essential This brilliant romantic screwball comedy (1946) 116 mins PG capacity. 04 MAY Footage Fetishist: Erich von gentle and deeply humanistic fantasy Visconti repeatedly explores the depths of aesthete of Italian cinema becomes Visconti’s Party commission to produce a documentary feminist screen icons of her generation. bears all the quintessential hallmarks of In the Midwestern industrial city of Iverstown, Stroheim, Total Filmmaker featuring Don Ameche as an inveterate romance, melancholy, aesthetics and the first great infiltration of operatic swoop into on fishermen in southern Italy, Visconti’s This season includes a number of her Sturges’ best and most ingenious work— Stanwyck plays the ruthless Martha, trapped Part Two WWW.MELBOURNECINEMATHEQUE.ORG 07 ladies’ man who calmly accepts he has passing parade of history. This season of signature roles, showcasing Stanwyck’s neo-realist detail, a push-pull dialectic that film—adapted from Giovanni Verga’s 19th- breakneck dialogue exchanges, delicious in a loveless marriage with the local district lived a life of sin and debauchery while imported 35mm prints spans the breadth was eventually abandoned toward the latter century novel—bears many of the classic luminous command of the silver screen tonal shifts and deliriously eccentric attorney (Kirk Douglas, in his Hollywood 11 MAY African Visions: A Collaboration recounting his past and requesting of his career, including one of his most half of his career. A superb Anna Magnani markers of neo-realism. Shot on location, and her natural talent with other actors. characterisations. Stanwyck plays a gold- debut). Versatile director Milestone twists Like us on Facebook and follow us on Twitter for all Cinémathèque info. with the Human Rights Arts admission to hell. Poking sly fun at widely celebrated and extraordinary stars as Maddalena: showbiz mother, using non-professional actors who speak digger who sets her sights on a nerdy, gullible a tale of jealousy, betrayal and bitter desire Articles on many films in the program can be found in Cteq Annotations on Film, & Film Festival 08 the manners, décor, costumes and works, The Leopard, his first film as online at www.sensesofcinema.com vulgarian and representative of the postwar in a unique dialect, it tells of the hardships millionaire (Henry Fonda) travelling to between new loves and old flames, scripted naughtiness of the turn of the century and writer-director, Ossessione, one of the petite bourgeoisie. Yet what begins as a endured by the working class. Yet, in crafting America aboard an ocean liner after a stint by Robert Rossen. This key, expressly cynical Between Past and Present: Email [email protected] 18 MAY beyond, the film’s locales shift luminously key works of neo-realism, La Terra Trema, prophetic excoriation of the then-nascent his story of a Sicilian fishing family locked in the Amazon jungle. With Charles Coburn noir is masterfully filmed through Victor The Films of Margot Nash Join our weekly reminder list: send a SUBSCRIBE email to our address listed above. between highly stylised and boldly and the rarely seen adaptation of Albert cult of celebrity transforms into a deeply in a circle of economic exploitation while and Eugene Pallette. “The oddest thing of Milner’s stark black-and-white lens, spiced up 09 Technicolor renditions of old New York, Camus’ The Stranger. sympathetic treatise on ageing, failure and battling against nature’s pitiless rhythms, all is that the effect of this anarchic, coldly by Miklós Rózsa’s vivid score. With Lizabeth Kansas City and the modern streamlined legacy, with Visconti amply demonstrating his Visconti makes use of an epic, poetic brilliant comedy about the humiliation of a Scott, Van Heflin and Judith Anderson. 35mm “Every Grey Hair On My Head, 25 MAY– waiting room of perdition. Features pitch understanding of “the charged theatricality of structure to present a grand cycle of “Marxist man by a woman… is not only exhilarating but print courtesy of The Library of Congress. I Call Kinski”: The Collaborations 08 JUNE perfect performances by Charles Coburn, ordinary life” (Fernando F. Croce). With Walter Romanticism” and “visionary aestheticism” positively good-natured” (James Harvey). 10 of Werner Herzog & Klaus Kinski Eugene Pallette, Laird Cregar and the Chiari. 35mm print courtesy of Cinecittà Luce. (Lisabeth During). 35mm print courtesy of breathtaking Gene Tierney. Cinecittà Luce. In and Out of Grace: Poetry and Wednesdays at ACMI, 15–29 Pornography in the Cinema of Federation Square, Melbourne JUNE Walerian Borowczyk melbournecinematheque.org 11 SEASON CONTINUES ON MARCH 23

23 March 30 March 06 April 13 April 20 April 27 April Monday 02 May 04 May 13 APR–02 MAY 13 APR–02 30 MAR 06 APR 04 MAY 7:00 NIGHT NURSE FOOTAGE04 FETISHIST: ERICH VON 7:00 GREED THE BITTER05 TEARS OF RAINER 7:00 QUERELLE BEAUTIFUL06 LOSERS: ROBERT 7:00 MCCABE & MRS. MILLER 7:00 CALIFORNIA SPLIT 7:00 COMBAT!—“SURVIVAL” 7:00 ROBERT ALTMAN’S JAZZ ’34 FOOTAGE07 FETISHIST: ERICH VON 7:00 LA GRANDE ILLUSION William A. Wellman Erich von Stroheim Rainer Werner Fassbinder Robert Altman Robert Altman Robert Altman Robert Altman Jean Renoir (1931) 72 mins STROHEIM, TOTAL FILMMAKER (1924) 140 mins WERNER FASSBINDER: A (1982) 108 mins R18+ ALTMAN’S PANORAMIC CINEMA (1971) 121 mins M (1974) 108 mins M (1963) 47 mins (1997) 72 mins STROHEIM, TOTAL FILMMAKER (1937) 114 mins G PART ONE PART TWO This pre-Code crime drama featuring early An ex-miner and dentist kills his COLLABORATION WITH THE Fassbinder’s final film—a multinational Robert Altman (1925–2006) is one of A Montana brothel entrepreneur (Warren With its title referencing poker jargon, In the late 1950s and early 1960s Altman Rare screening of Altman’s evocative, Renoir’s most internationally celebrated performances by Stanwyck, Joan Blondell No other filmmaker has suffered the greedy wife and then sets out across Death MELBOURNE QUEER FILM FESTIVAL production released posthumously just the most distinctive and contentious Beatty) joins forces with an opium-addicted Altman fashions one of his most entertaining directed over 100 episodes of series TV. lively and personally felt recreation of No other filmmaker has suffered the film tells the tale of two French soldiers and Clark Gable, begins with a portrait of indignity of being called an “incomplete Valley to stalk his rival. Butchered by MGM months after his tragic death—is an filmmakers to rise to prominence in Madam (Julie Christie). Altman’s sleety folk and compelling films—a landmark in the Alongside his more prosaic but still inventive an all-night jam session in Kansas City in indignity of being called an “incomplete imprisoned in a German POW camp, and The Melbourne Cinémathèque is pleased the daily life of women working in a hospital filmmaker” as often as Erich von Stroheim before its release, after Stroheim submitted adaptation of one of Jean Genet’s most the “golden” era of New Hollywood Western is one of his most affecting and use of multitracked sound—about a pair contributions to shows such as Bonanza, 1934. Filmed during the making of Altman’s filmmaker” as often as Erich von Stroheim then in a fortress prison after they try to to continue its collaboration, inaugurated before shifting to a sinister mystery involving (1885–1957). It is difficult to come to an an almost 8-hour cut, the director’s lurid and scandalous novels depicting the in the late 1960s. Widely regarded sadly humanistic films. Loosely based on of parasitical Californian gamblers (played Maverick, Alfred Hitchcock Presents, Route 66 partly autobiographical reminiscence of (1885–1957). It is difficult to come to an escape. Though banned in WWII Italy and in 2015, with the Melbourne Queer Film con men, child abuse, greed and Gable as a accurate critical appraisal of Stroheim’s unrelenting study of moral decay and murderous, criminal and sexual exploits of a as a true maverick, iconoclast and the novel by Edmund Naughton, Altman’s magnificently by Elliott Gould and George and Whirlybirds, he also directed landmark his home town in the 1930s, Kansas City, accurate critical appraisal of Stroheim’s Germany, this WWI-set film was heralded for Festival, Australia’s preeminent queer film villainous chauffeur. A saucy, wisecracking work based on the frustratingly partial, dehumanising avarice remains a towering young psychopathic sailor (Brad Davis) in the independent, Altman nevertheless moody masterpiece is an extraordinarily Segal) who finally hit a winning streak in Reno. episodes of adventurous series such as Bus this dramatised musical documentary is work based on the frustratingly partial, its strikingly complex regard for the human event and Melbourne’s second biggest Stanwyck exudes sexual power and toughness incomplete and forcibly abandoned masterpiece of American cinematic realism. port of Brest. Eschewing the characteristically has a fascinating relationship to the atmospheric, intemperate and materialist The crosscutting scenes in the stale, smoke- Stop and Combat! In his final episode for this dominated by the brilliantly staged cutting incomplete and forcibly abandoned condition, no matter the characters’ class, film festival. This partnership presents a as well as maternal compassion while nature of the works that make up his Based on Frank Norris’ epic novel McTeague, blunt and direct naturalistic style that mainstream of American filmmaking. portrait of frontier life, the rise of modern encrusted, jazz-scored casino brilliantly long-running series, Altman explores the contest between saxophonists Coleman nature of the works that make up his nationality or politics. Renoir’s lingering long chance to explore the rich historical roots standing up for injustice. Wellman takes filmography—The Devil’s Pass Key, it is both one of the great films of the defined his filmmaking throughout the 1970s, His rise to prominence in 1970 with the capitalism and the “beautiful losers” who capture (while also betraying Altman’s own subjective experience of a shellshock victim Hawkins and Lester Young. Features a range filmography—The Devil’s Pass Key, shots, allowing subtle detail to seep through, of the queer cinematic canon through the advantage of pre-Code moral permissiveness Queen Kelly, The Wedding March and silent era and a landmark in the practice Fassbinder further develops his experiments breakthrough hit MASH masked a much define his greatest work. Hauntingly scored penchant for gambling) the compulsive (lead character Vic Morrow) wandering back of the best contemporary jazz musicians, such Queen Kelly, The Wedding March and remain hauntingly powerful today. Co-written festival’s first Pioneers program. to include women disrobing, witty double the legendary, lost almost 8-hour cut of adaptation, featuring vividly expressive with colourful, Anger-esque expressionism longer and circuitous “apprenticeship” with songs by Leonard Cohen, it also features quality of frenzied, possessed souls down from behind German lines. This remarkable, as Craig Handy, Joshua Redman, Ron Carter, the legendary, lost almost 8-hour cut by Charles Spaak, it stars Jean Gabin, Pierre entendres, drunkenness, violence and a of Greed—made at a time when the performances by Gibson Gowland, Zasu Pitts initiated in Lola. With Jeanne Moreau and across late classical Hollywood (a brief Shelley Duvall and Keith Carradine. Exquisitely on their luck but hoping for a reprieve. Rare visceral and strikingly experiential portrayal David “Fathead” Newman, playing several of of Greed—made at a time when the Fresnay, Erich von Stroheim (in a touchingly pro-vengeance ending. 35mm print courtesy widespread appreciation of the art of and Jean Hersholt. 35mm print courtesy of Franco Nero. failed career as a story writer), industrial shot by Vilmos Zsigmond; Pauline Kael called chance to see the original cut of the film. of combat led to Altman being fired from the the greats of the emerging swing era: Young, widespread appreciation of the art of stoic role as an aristocratic German officer) of The Library of Congress. cinema was not yet commonplace, the British Film Institute. filmmaking in his home town of Kansas it a “beautiful pipe dream of a movie”. 35mm print courtesy of the National Film and show. Courtesy of The Walt Disney Company. Hawkins, Count Basie, Ben Webster, Mary cinema was not yet commonplace, and Dita Parlo. 35mm print courtesy of the much less the will to preservation. Most City, and a combative but sometimes Sound Archive, Australia. Lou Williams. Narrated by Harry Belafonte. much less the will to preservation. Most National Film and Sound Archive, Australia. damagingly but brilliantly, Billy Wilder brilliant stint in mainstream TV in the late Please note, this special Monday screening damagingly but brilliantly, Billy Wilder cast Stroheim as a thinly fictionalised 1950s and early 1960s. Many of Altman’s will be preceded by an introductory talk cast Stroheim as a thinly fictionalised embodiment of the Hollywood casualty preoccupations with genre, multitracked on Altman by Adrian Danks (co-curator of embodiment of the Hollywood casualty in Sunset Blvd. Stroheim has been cast sound, the mobile camera and the the Melbourne Cinémathèque and author of in Sunset Blvd. Stroheim has been cast in the shadow of this spectre ever since. percolating cavalcade of humanity can A Companion to Robert Altman published by in the shadow of this spectre ever since. Yet Stroheim was also one of the most be traced to his work on such shows Wiley-Blackwell, 2015). 35mm print courtesy Yet Stroheim was also one of the most accomplished, inventive and modern of as Combat!, Bonanza, Alfred Hitchcock of the UCLA Film & Televison Archive. accomplished, inventive and modern of all European émigré directors, past or Presents and Bus Stop. Nevertheless, it all European émigré directors, past or present. As the émigré son of working- is rightly Altman’s films of the first half present. As the émigré son of working- class Austrian Jews (who nevertheless of the 1970s (including such truly great class Austrian Jews (who nevertheless styled himself a high Count), Stroheim’s movies as McCabe & Mrs. Miller, The Long styled himself a high Count), Stroheim’s status as the pre-eminent Hollywood Goodbye, California Split and Nashville) status as the pre-eminent Hollywood outsider imbues his work with a tragic and the 1990s—his “return” to form and outsider imbues his work with a tragic 8:25 MEET JOHN DOE 9:30 QUEEN KELLY 9:00 THE BITTER TEARS 9:10 3 WOMEN 9:00 VINCENT & THEO 8:00 SHORT CUTS 9:05 FOOLISH WIVES inexorability and gentle romanticism, the “movies” with Vincent & Theo, The inexorability and gentle romanticism, Frank Capra Erich von Stroheim OF PETRA VON KANT Robert Altman Robert Altman Robert Altman Erich von Stroheim qualities heightened further by the Player, Short Cuts and Kansas City—that qualities heightened further by the (1941) 122 mins G (1929) 101 mins PG Rainer Werner Fassbinder (1977) 124 mins M (1990) 138 mins (1993) 187 mins MA (1922) 117 mins knowledge that Stroheim worked as a define his popular and critical reputation. knowledge that Stroheim worked as a This sharp, Depression-infected vision of A gentle convent girl (Gloria Swanson) is (1972) 122 mins M Inspired by a dream, Altman’s eerie Altman’s intimate biopic examines the Altman’s kaleidoscopic, humanist masterpiece In this spectacularly indulgent film set in total filmmaker: penning several of his Although his quixotic career encompasses total filmmaker: penning several of his the Capraesque is one of the director’s most seduced and deceived by a roguish prince and Fassbinder adapts his own play about an exploration of fractured identities and shifting complex relationship between Vincent van connects a web of Raymond Carver stories a large-scale studio recreation of Monte most potent works (Blind Husbands, a myriad of genres and forms, it largely most potent works (Blind Husbands, underrated and biting works. Capra and banished to her aunt’s brothel in East Africa, emotionally sadistic fashion designer and the roles stars two of the iconic actresses of Gogh (Tim Roth) and his younger brother, to an astonishing array of superlative Carlo, Stroheim cast himself in a feature role Foolish Wives) in addition to occupying alternates between jazzy, panoramic, Foolish Wives) in addition to occupying screenwriter Robert Riskin’s story of how an where she takes her place as the queen of handful of women who visit her in the garish the 1970s: Sissy Spacek and Shelley Duvall. Theo (Paul Rhys), a wayward Parisian performances (Julianne Moore, Robert as a sharp and unscrupulous aristocrat. A a multitude of roles both behind and in mosaic-like ensembles and more intimate a multitude of roles both behind and in anonymous tramp, Gary Cooper in the title the title. Reconstructed version of Stroheim’s bedroom in which she holds court. The film’s Altman creates a surreal, dream-like mood businessman who becomes an art dealer Downey Jr., Tim Robbins, Jack Lemmon, decadent escapade that vastly exceeded front of the camera. This handpicked explorations of genre, identities and front of the camera. This handpicked role, is plucked, made and then unmade into most opulent and sexually decadent work is long takes, deep focus cinematography and of dislocation and anxiety against a decaying and the first advocate for his brother’s work. Lyle Lovett, Tom Waits, Lily Tomlin and many its budget, the final released version was season of 35mm prints includes “beautiful losers”. This celebration of the season of 35mm prints includes a spokesman for popular discontent by press a delirious triumph of esoteric style. Barely dispassionate, faux-theatrical style work American frontier of rundown bars, shooting Opening at a Sotheby’s auction, the film others). One of the great LA films, Carver’s the result of significant studio cuts, which Stroheim’s most celebrated works of messy, multitudinous and truly maverick Stroheim’s most celebrated works of hype woman Stanwyck is one of the director’s released in its time, and with footage from the against the melodrama of the material, ranges, mystical murals and soulless explores the connections between art and stories are riffed on to reveal the depths of saw over four hours of footage excised. Yet the late silent era (The Merry Widow, work of one of the seminal figures of the late silent era (The Merry Widow, most ambiguous and still relevant socio- sordid African sequences only rediscovered creating a dissonance that allows Fassbinder’s desert spa facilities. Recurrent images commerce by contrasting the life of the two despair at the heart of the American façade. Stroheim’s vision was so grand and fantastical The Wedding March), the monumental modern American filmmaking and TV The Wedding March), the monumental political allegories. With Walter Brennan, in the 1960s, excerpts from this “abandoned” searingly critical self-portrait to show up of water reflect the themes of doubling, brothers. A judiciously pared down version “Altman’s return to his ecstatic anthology that it remains an irresistible masterpiece of Greed, the film that defined his career and presents a small sample of some of his Greed, the film that defined his career and Edward Arnold and James Gleason. “One of classic form the luminous “home movie” in sharp relief. The all-female ensemble of mirroring, blurring and transformation as of a 4-part miniseries commissioned by mode” (Jonathan Rosenbaum) matches seduction, extortion and murder. With Miss reputation, and his moving performance best work across the small-screen as reputation, and his moving performance Capra’s greatest films” (Ray Carney). 35mm watched by Swanson and Stroheim in Sunset Fassbinder regulars (Margit Carstensen, obsession leads to an enigmatic exchange of European TV, its success precipitated Altman’s the high-water mark of his 1970s career, DuPont, Mae Busch and Maude George. 35mm in Jean Renoir’s profoundly humanist anti- well as several of his most important in Jean Renoir’s profoundly humanist print courtesy of The Library of Congress. Blvd. 35mm print courtesy of the National Film Hanna Schygulla and Irm Hermann) creates a personalities. With Janice Rule, Ruth Nelson return to mainstream cinema prominence in Nashville. Joint winner of the Golden Lion at print courtesy of The Library of Congress. war classic, La grande illusion. Further and soulful big-screen masterpieces anti-war classic, La grande illusion. and Sound Archive, Australia. memorable gallery of desperate grotesques. and John Cromwell. the early 1990s. the Venice Film Festival. 35mm print courtesy screenings in this three-part season (including McCabe & Mrs. Miller, 3 Women Additional screenings in this three-part of the UCLA Film & Televison Archive. take place on 4 May and 14 December. and Short Cuts). season take place on 30 March and 14 December.

11 May 18 May 25 May 01 June 08 June 15 June 22 June 29 June 11 MAY 18 MAY JUNE 25 MAY–08 15–29 JUNE

AFRICAN08 VISIONS: 7:00 BLACK GIRL BETWEEN09 PAST AND PRESENT: 7:00 THE SILENCES “EVERY10 GREY HAIR ON 7:00 AGUIRRE, WRATH OF GOD 7:00 NOSFERATU THE VAMPYRE 7:00 FITZCARRALDO IN AND11 OUT OF GRACE: POETRY AND 7:00 GOTO, ISLAND OF LOVE 7:00 THE BEAST 7:00 THE STRANGE CASE OF A COLLABORATION WITH THE Ousmane Sembène THE FILMS OF MARGOT NASH Margot Nash MY HEAD, I CALL KINSKI”: Werner Herzog Werner Herzog Werner Herzog PORNOGRAPHY IN THE CINEMA OF Walerian Borowczyk Walerian Borowczyk DR. JEKYLL AND MISS (1966) 65 mins (2015) 73 mins M (1972) 93 mins PG (1979) 107 mins PG (1982) 158 mins PG (1969) 93 mins M (1975) 104 mins R18+ OSBOURNE HUMAN RIGHTS ARTS & FILM One of the founding works of African cinema; Margot Nash is a Sydney-based filmmaker This profoundly moving and tough essay THE COLLABORATIONS OF WERNER “At that moment I knew it was my destiny to Though able to draw directly upon Bram The most fraught of the Herzog-Kinski WALERIAN BOROWCZYK Filled with “visual poetry and powerful, An American heiress arrives in France to be Walerian Borowczyk Stoker’s Dracula (by then in public domain), FESTIVAL Senegalese director Sembène’s first feature and academic. Emerging from the on the tangled bonds, secret histories and HERZOG AND KLAUS KINSKI make films, and his [Kinski] to act in them” collaborations (as documented by Herzog Few more controversial figures enlivened fable-like storytelling” (David Thomson), wed to an impoverished, deformed French (1981) 95 mins is a strikingly complex exploration of racial vibrant Melbourne theatre scene of unspoken traumas of family life stretches (Herzog). The powerfully hallucinogenic Herzog’s film is primarily an homage to in My Best Fiend) tells the extraordinary story Borowczyk’s absurdist debut feature takes nobleman. She finds dark and mysterious In this macabre re-invention of Robert Louis “Artists and creatives have always been at Among the most successful, and cinema in the 20th century than Walerian and cultural prejudice that combines the the 1970s (when she was involved with from New Zealand to the Australian suburbs. imagery of Herzog’s allegory was shot on Murnau’s 1922 classic, Nosferatu, a Symphony of Fitzcarraldo, a Caruso-obsessed madman place on a mythical island ruled by an secrets amongst the household and erotic, Stevenson’s endlessly generative classic, the vanguard of social change—we rely on certainly the most volatile, of director/ Borowczyk (1923–2006); far fewer still social-realist project of neo-realism with the Melbourne Theatre Company and Nash’s exploration of her childhood and the a huge and arduous scale in the Peruvian of Horror. Building a bridge back to German who embarks on a quest to build an opera imperious leader (played by French great bestial yearnings awaken within her. Dr. Jekyll (the immortal Udo Kier) suckles them to hold a mirror to the uneasy truths actor collaborations in all of cinema, experienced so massive a fall from the spare but freewheeling aesthetics of the the Australian Performing Group at “silences” of family, mental illness and the rainforest. Kinski (at his uncontrollable expressionism and romanticism, Herzog’s house in Iquitos in the Peruvian Amazon. Pierre Brasseur). Filmed in black-and-white Borowczyk’s transgressive riff on Prosper the deep, sickly ecstasies of co-dependent, of our times and reflect our stories,” the Werner Herzog (1942–) and Klaus Kinski critical grace. An accomplished artist nouvelle vague. Based on a real event, this the Pram Factory) she has gone on to past draws upon a wealth of photographs, best in one of the cinema’s most indelible sumptuous, melancholic and erotically Originally conceived with Mick Jagger in with a few, brief colour shots, the film’s striking Mérimée’s novella began life as a scandalously conspiratorial amour fou. Miss Osbourne Human Rights Arts & Film Festival mission (1926–1991) made five troubled, glorious in several fields whose genius was often pioneering postcolonial film follows a young make a number of award-winning films. letters, oral histories, documentary performances) plays a crazed 16th-century charged vision revalidates the cultural the supporting role, the film’s most famous compositions move through cell-like rooms previewed and jettisoned segment of Immoral (Marina Pierro) is here positioned as a statement reads. The same reasoning features together between Aguirre, proclaimed, Borowczyk won a National Senegalese woman who moves from Dakar Inflected by Nash’s lifelong feminism, the footage and clips from her previous work. conquistador obsessed with discovering the inheritance of a country “vampirically” set piece involves the transport of a large to explore themes of fear and dictatorial rule; Tales before being expanded into a feature. “Surrealist Woman, one in a long line of could be said to underlie the Melbourne Wrath of God in 1972 and Cobra Verde in Prize for lithography in his native Poland to the Riviera, first as nanny and then maid three films in this program provide an An extraordinarily honest portrait of the fabled city of El Dorado. Roger Ebert called mesmerised by the catastrophe of Nazism. steamboat over a steep hill using only the accordingly, the film was banned in both the Dogged by controversy and censorship ‘heroines of evil’ that Borowczyk celebrated” Cinémathèque’s commitment to screening 1987. Their work together is touched by and enjoyed a celebrated career as a to a French family. Preceded by Sembène’s introduction, for those that need it, to one complex and confusing ties of love, loss and the film “one of the great haunting visions of Kinski, in his second collaboration with the manual labour of the Araguna people, an act Soviet Bloc and Fascist Spain. Ligia Branice (La battles from the moment of its release, many (Cristina Álvarez López and Adrian Martin). significant films from the complete history madness—both that of the characters film poster designer even before his groundbreaking first film, Borom sarret of Australia’s great, quietly radical cross- kinship between a mother and daughter. the cinema”, and its exploration of military director, is perfectly cast in the title role. With of exploitation and insanity documented by jetée), the director’s then wife, co-stars in a audiences are distracted by the shockingly Between these twin pillars of performative of cinema; from the earliest silent films to played by Kinski and the notorious, well- animations and initial feature films were (1963) 22 mins. This tale of an impoverished disciplinary filmmakers. The Melbourne Preceded by Shadow Panic Margot Nash psychology and colonialist madness was a Bruno Ganz (as Jonathan Harker) and Isabelle Les Blank in Burden of Dreams. With Claudia surrealist masterpiece splendidly underlined explicit content and miss the playfulness and hysteria, Borowczyk works to find the correct recent digital experimentations, cinema is documented chaos of the productions extensively garlanded. Nonetheless, cart driver in Dakar is widely considered to be Cinémathèque is extremely proud to (1989) 26 mins. Three women, all strangers, major inspiration for Apocalypse Now. Adjani. Music by Popol Vuh. 35mm print Cardinale. Music by Popol Vuh. 35mm print by its use of Handel’s organ music. perversely hedonistic glee Borowczyk brings temperature for a “contagion of delirium”, a bellwether of our direction in the world. themselves—and Herzog has always he was written off from the mid-1970s the first film made by a black African in Africa. present this film event, which will be travel through separate but interconnected Music by Popol Vuh. 35mm print courtesy courtesy of Deutsche Kinemathek. courtesy of Deutsche Kinemathek. to the material. one that steeps its audience in the peculiarly In the continuation of a partnership been quite willing to perpetuate any onwards for unrepentantly mining his Both films have been restored by The Film introduced by the filmmaker herself. worlds. Screening to be introduced by the of Deutsche Kinemathek. feverish, fragmentary power of Euro-hybrid formed in 2014, this screening shows sensationalist story about his strangely enthusiasm for eroticism in material Foundation World Cinema Project, courtesy of filmmaker. Both films courtesy of the National poetics. With Patrick Magee and Howard cinema to be a truly global art form. It compelling muse. But this focus on the deemed far beneath his talents. Fondazione Cineteca di Bologna. Film and Sound Archive, Australia. Vernon. begins with Senegalese director Ousmane carnivalesque nature of their relationship However, with many of his films newly Sembène’s visionary debut feature before has tended to obscure the genius of re-entering circulation, there is finally a turning the colonial gaze back onto its their work together and the unique way broader movement towards viewing and European origins in Jean Rouch’s fittingly in which they managed to negotiate the appraising his output as a coherent— collaborative film Petit à Petit. awkward co-dependency of the actor- and brilliant—whole. This season of director dynamic. For Herzog, a filmmaker imported prints runs the gamut of his driven to push the boundaries of what singular oeuvre, from shorts credited with was possible to depict onscreen, Kinski raising animation’s standing worldwide represented the ultimate performer (Renaissance and Angels’ Games) to without limits, an actor who wouldn’t immediately-acclaimed early live-action merely play the obsessed visionaries with features (Goto, Island of Love and The 8:40 PETIT À PETIT 9:05 VACANT POSSESSION whom Herzog identified but embody them 8:45 MY BEST FIEND 9:00 WOYZECK 9:50 BURDEN OF DREAMS Story of Sin) and initially-derided later 8:45 LA MARGE 8:55 CABINET OF CURIOSITIES: 8:45 THE STORY OF SIN Jean Rouch Margot Nash as well, who could offer a grandiosity Werner Herzog Werner Herzog Les Blank masterworks (La marge and The Strange Walerian Borowczyk THE SHORT WORKS OF Walerian Borowczyk (1970) 96 mins (1995) 95 mins M of emotion to match the spectacle of a (1999) 95 mins PG (1979) 82 mins PG (1982) 95 mins M Case of Dr. Jekyll and Miss Osbourne), (1976) 89 mins R18+ WALERIAN BOROWCZYK (1975) 124 mins M Rouch’s “sequel” to the celebrated Jaguar is Like Nash’s recent, acclaimed essay film, The boat being dragged over a mountain, “Every grey hair on my head, I call Kinski” Adapted from an unfinished play by German More than a remarkable “making of” across key collaborations with designer/ In adapting André Pieyre de Mandiargues’ Prix (1957–1969) 95 mins Borowczyk’s adaptation of Polish writer in many ways a more profound, playful and Silences, this is a work that explores the gaps who could provide the intensity to make (Herzog). Herzog directs and narrates this playwright Georg Büchner, Herzog’s documentary, Blank’s candid and expansive animator Jan Lenica, his actress wife Ligia Goncourt-winning novel, Borowczyk atypically Before moving into feature filmmaking Stefan Zeromski’s 19th-century novel makes ambitious work of “ethno-fiction”. Several caused by conflicting self-images, between the wrath of God manifest in human outrageous, scurrilous but highly personal minimalist opus was shot in just 18 days film explores the clash of cultures during Branice, and electronic music pioneer made a film not just set contemporaneously in the late 1960s, Borowczyk built a obsessive use of lavish period detail in young men from the city of Niamey in Niger the need to preserve the shell of a shared, form. For Kinski, a tempestuous actor as tribute to the murderous instincts, and immediately after Nosferatu the Vampyre, Herzog’s troubled and ambitious production Bernard Parmegiani, via one of the most with the time of its production but even formidable reputation as a maker of short, evoking fin de siècle Warsaw. The film is an visit Paris to undertake an ethnographic study traumatic past and the desire, through infamous for his tantrums and inability to other excesses, that coloured his combative using much of the same crew. Observed with of Fitzcarraldo deep in the northern Amazon scandalous films of all time, The Beast. quintessential to it. Sensuous yet strangely disturbing, often-surreal animations and ecstatically dark fantasy of an initially virginal of high-rise buildings and the uses Parisians “progress”, to expunge it. Tessa (Pamela collaborate as for his fiery performances, “friendship” & 5-film collaboration with documentary-like detachment by Herzog’s jungle in Peru. It features footage of the Throughout, one can revel in a highly downbeat, this seldom-seen film—perhaps a live-action works in Poland and France that woman pursuing a faithless love, while make of them. Made in the wake of May ’68, Rabe) feels the pull to return to her childhood Herzog offered a commitment to the megalomaniac actor and co-conspirator camera, Kinski plays a hapless soldier in mid- actual mechanism used to move the boat, decorative and sensuous approach to function of licensing fees for an extraordinary demonstrated an extraordinary range of pursued herself by sexual predators across Rouch’s bracing combination of improvised house in the wake of her mother’s death. The moment, a director who would tolerate Kinski. Herzog’s critical, self-serving but 19th-century provincial Germany. Mistreated unused scenes filmed with Jason Robards mise en scène, a rare gift for matching soundtrack inclusive of Pink Floyd, Elton John styles and preoccupations. This program Europe—the more sordid details transcended fiction and observational documentary is messy idea of home, and everything unspoken all manner of lunacy for the chance sometimes touching essay includes excerpts by society, tormented by his superior and and Mick Jagger, interviews with cast and soundtracks with images rich in period and 10cc—anticipates and betters Gaspar features many of the key works of this stage by Grazyna Dlugolęcka’s psychologically a key work of postcolonial cinema and a and unresolved attached to it, is at the centre to capture pure, uninhibited passion. and notorious behind-the-scenes footage of experimented upon, Woyzcek descends into crew including indigenous extras, as well as atmosphere and detail, a Buñuelian Noé’s Love in rhyming pop and classical music of Borowczyk’s career including his exquisite plausible performance. Passionate, profound instance of “reverse” ethnography. of a film that sits at an important crossroads Their work together, characterised by incidents from such seminal works as Aguirre, madness before eventually succumbing to life around the camp. A profound insight into sense of mischief and provocation, with artfully shot scenes of ecstatic bodies, collaborations with Jan Lenica (Once melodramatic and struck through with an Parisians are held up as objects of study, in Nash’s career. The title “refers not only to gratuitous excess, is amongst the most Wrath of God, Woyzeck and Fitzcarraldo. the evil within. Co-star Eva Mattes won Best Herzog’s single-mindedness, at one stage he and Borowczyk’s tirelessly productive principally those of Warhol superstar Joe There Was, Dom) and Chris Marker (Les unusual degree of menace, it was nominated reworking many of the devices—observations the ‘vacant possession’ of the house but also staggeringly cinematic of the last 50 Supporting Actress at Cannes. 35mm print says, “I live my life or end my life with this investigations into how women and men Dallesandro and Emmanuelle’s Sylvia Kristel. astronautes). It also includes several of the for the Palme d’Or at Cannes. on style and manners, callipers to measure to Australia itself” (David Stratton). Screening years. This season of 35mm prints pays courtesy of Deutsche Kinemathek. project”. Print courtesy of the National Film might succumb to—and sometimes director’s most influential works including anatomy—familiar from colonialism. to be introduced by the filmmaker. 35mm tribute to their truly extraordinary and and Sound Archive, Australia. overcome—the forces of repression. Angels’ Games; a film Terry Gilliam called one print courtesy of the National Film and Sound messianic collaboration. of the greatest animations ever made. Archive, Australia.

THE MELBOURNE CINÉMATHÈQUE IS GRATEFUL TO: SUPPORTED BY

Park Circus and especially Graham Fulton, Hollywood Classics, Madman Entertainment, Potential Films, Compass Film Srl, Association of Moving Image Archivists Listserv, Film SUBSCRIBE FOR FREE Programmers Listserv, the Academy Film Archive (Los Angeles), Studio Canal Australia, Gaumont Film Company, Toho Co. Ltd, Cinecittà Luce, the Czech and Slovak Film Festival and read Cinémathèque of Australia, Národní filmový archiv (National Film Archive in Prague), Melbourne UNESCO City of Literature Office, the British Film Institute and its Archive, Kadr Studios, annotations on Film at Filmoteka Naradowa (Poland), UCLA Film and Television Archive, the Human Rights & Arts Film Festival, The Melbourne Queer Film Festival, Antje Ehmann, Nic Tammens, Arsenal, Deutsch Kinemathek, Lucas Quigley, Margot Nash, John Winter, 20th Century SEnSESOFCInEma.COm Fox, The Film Foundation and the World Cinema Project, Istituto Luce—Cinecittà Srl, Viggo Srl, Editions Gallimard, the Library of Congress, Universal NBC, UIP London, Kino Lorber, the Fassbinder Foundation, Fondazione Cineteca di Bologna, Daniel Bird and the Friends of Borowczyk, Filmoteca UNAM, Televisa.com Mexico, Cinemateca Portuguesa- Museu do Cinema, Austrian Film Museum, Manoel de Oliveira’s family, Lusomondo, 93 Smith Street Fitzroy Les Films du Jeudi, Roadshow Films, Shochiku Co. Ltd, the Walt Disney Company, (03) 9939 0096 the Robert Altman Estate, Werner Herzog Film Office, Tamasa Diffusion, Forum des www.thesearchers.com.au Images, Umbrella Entertainment, Arrow Film, TOR, Seagull Films, Pathé, Pyramide PRESENTED WITH Films International, Vendetta Films, Central Motion Picture Corporation (Taiwan), instagram: @thesearchers Hou Hsiao-Hsien, Chuti Cheng, 3H Productions. Australian Centre for the Moving Image and especially Reece Goodwin, the National Film and Sound Archive of Australia, Film Victoria, Screen Australia, Patricia Amad and Present Company Included, Sirena Tuna, Stellar Dental, Senses of Cinema, Nick Howe and The Japan Foundation, The Italian Institute of Culture, 3RRR, Warren Taylor MONASH UNIVERSITY MUSEUM OF ART and Communication Design students at Monash Art Design Architecture (MADA), the Australian Classification Board. TUESDAY - FRIDAY 10AM - 5PM & SATURDAY 12 - 5PM WWW.MONASH.EDU.AU/MUMA @thecanarypress THE MELBOURNE CINÉMATHÈQUE 2016 SEASON

Curated by Michael Koller, Michelle Carey Calendar Editor Adrian Danks. PROGRAM PARTNERS Melbourne Cinémathèque is and Adrian Danks with assistance from Notes by Michelle Carey, Adrian Danks, grateful to its principal sponsor Cerise Howard, Eloise Ross and Cerise Howard, Paul Jeffrey, Beata 100% Sirena Quality Taste Louise Sheedy. Lukasiak, Chris Luscri, Chris Mildren, Present Company Included President Eloise Ross. Dylan Rainforth, Eloise Ross and Alifeleti Treasurer Michael Koller. Tuapasi Toki. For innovative and cost-effective solutions Calendar design Zach Beltsos-Russo. to your promotional needs contact: Executive Committee Secretary Present www.presentcompany.com.au Kim Munro. Calendar project management Company Included Phone 03 9387 4717 Incorporated Association Secretary Dylan Rainforth, Warren Taylor and Marg Irwin. Carla McKee. Mention Melbourne Cinémathèque for VIP turnaround on quotes. Program Co-ordinator Eloise Ross. Webmaster Alifeleti Tuapasi Toki. Subtitling logistics Lorenzo Rosa. Sponsorship Manager Patricia Amad. Music synchronisation Michael Koller. Calendar and Screen Advertising; Marketing Coordinator Eloise Ross. Membership Officer Michael Koller. PCF Chris Luscri.

Melbourne Cinémathèque Inc. ABN 59 987 473 440 Apt. 1104, Manchester Unity Building 220 Collins Street, Melbourne VIC 3000. Email [email protected] www.melbournecinematheque.org 100% Pole & Line 06 July 13 July 20 July 24 August 31 August 07 September MELBOURNE CINÉMATHÈQUE 2016 SCREENINGS Wednesdays from 7pm at ACMI Federation Square, Melbourne* Presented by the Melbourne Cinémathèque and the Australian Centre for the Moving Image. 06–20 JULY SEPT 24 AUG–07 Curated by the Melbourne Cinémathèque.

SEVEN12 CIRCLES SOUTH OF THE 7:00 IN THE PALM OF YOUR HAND 7:00 ANOTHER DAWN 7:00 DEVIL’S MONEY MASAKI13 KOBAYASHI: 7:00 SAMURAI REBELLION 7:00 KWAIDAN 7:00 HYMN TO A TIRED MAN Supported by Screen Australia and Film Victoria. BORDER: MEXICAN NOIR Roberto Gavaldón Julio Bracho Alejandro Galindo THE HUMAN CONDITION Masaki Kobayashi Masaki Kobayashi Masaki Kobayashi (1951) 113 mins (1943) 106 mins (1953) 85 mins (1967) 128 mins PG (1964) 183 mins PG (1968) 130 mins MINI MEMBERSHIP This revelatory season of imported One of a crop of recently recovered gems from A union activist on the run (Pedro Armendáriz) A demimonde of stolen money, dangerous Masaki Kobayashi (1916–1996) is highly After two years of marriage to a vassal, a lord A triumph of disturbing atmosphere and A young soldier is left half deaf after a severe QUE Admission to 3 consecutive nights: prints showcases cine negro, a treasure the “golden age” of Mexican classical cinema, is aided by a former lover (Andrea Palma, romance and questionable morality resonates regarded for his enraged pacifism demands the return of his concubine. The ghostly implications, Kobayashi’s anthology beating from a superior officer during WWII. È Full: $29 / Concession: $24 (GST inclusive) trove of stylish, moody and suspenseful Gavaldón’s pitch-black cine negro adopts the director’s sister and a major star of through this mesmerising expressionistic noir. and sustained humanist critiques of vassal’s family (led by Toshiro Mifune) rebels, of oft-told tales of the supernatural was the Years later, the soldier and the officer become films noir from 1940s and 1950s Mexico, themes (economic downturn, duplicitous Mexican cinema) now unhappily married to Infused with a sophistication built during an society and authority. His films routinely forcing them into conflict with an old friend most expensive film made in Japan and is destined to cross paths once again after their highlighting that country’s own classic women and foolish, desperate men) common a mutual college friend. Adapted from a play early career working in Hollywood, Galindo’s depict a world fraught with systemic (played by Tatsuya Nakadai). Kobayashi uses marked by expressionistic visual and sound eldest children are engaged to be married. ANNUAL MEMBERSHIP studio era of quality filmmaking. With to its noir cousins north of the border, but by expatriate Frenchman Max Aub—with vividly corrupt world emerges from the corruption. Like other socially-engaged the form of the period film to universalise design that foreshadows many of the tropes of Based on the novel by the great Shusaku Admission for 12 months from date of purchase: rich chiaroscuro, fatalist narratives and has a lush, poetically sonorous approach peculiar similarities to Casablanca, released shadows and takes to the open road, amidst filmmakers in postwar Japan (Oshima, his recurring theme of dissidence. The J-Horror. Alternately nightmarish and chilling, Endo (Silence), Kobayashi’s film adaptation Full: $155 / Concession: $135 (GST inclusive) vice-like suspense, the work of directors to genre that stands in counterpoint to the same year—this nascent film noir clings harsh factory conditions and driven by the Shinoda, Imamura) Kobayashi was able unbending ritual of the samurai code, richly much of the film’s reputation for beauty lays is a meticulously paced dramatic film that MATH such as Roberto Gavaldón, Julio Bracho Hollywood at the time. Arturo de Córdova to the doomed romanticism of poetic realism, irresistible seductiveness of the rumba. Iconic to work seamlessly across a surprising entrenched in legend and historical lore, is with the work of art director Shigemasa Toda maintains the director’s lifelong stance against É and Alejandro Galindo easily rivals the plays a hack fortune teller and peeping tom even while Gabriel Figueroa’s astounding elements materialise in the rich black-and- variety of genres including the domestic stylishly realised and questioned through his and the controlled direction of Kobayashi. corrupt authority, war and brutality. Featuring FRIENDS OF CINÉMATHÈQUE better-known work north of the border. who gradually becomes entranced by black cinematography is inching towards the white textures filmed by the great modernist melodrama, the period film, supernatural use of cool, reticent movement and elegant Originally released in shortened form in the Kobayashi regular Michiyo Aratama. Music by Admission for 12 months from date of purchase: Despite the obvious shared elements, horror and the war film. Kobayashi’s early Full: $280 / Concession: $250 (GST inclusive) 06–20 Seven Circles South of the widow Ada Romano (Leticia Palma) who, in a truly dark fatalism of postwar noir. Digital photographer Agustín Jiménez. With composition. Score by Toru Takemitsu. With West, this is the complete version including Japanese New Wave legend Toru Takemitsu. these Mexican masterpieces are distinctly career as a director consists of shomin- The Friends of Cinémathèque membership is a way for you JULY Border: Mexican Noir fit of spellbound pulp poetry, is likened to a Restoration courtesy of the Filmoteca UNAM. Roberto Cañedo and Amalia Aguilar. Digital Yoko Tsukasa. 35mm print courtesy of The all four tales. “It has remained for countless 35mm print courtesy of The Japan Foundation. 12 different to Hollywood noir. As Museum “secret waterfall of death”. Digital Restoration Restoration courtesy of the Filmoteca UNAM. geki in the trademark style of Shochiku Japan Foundation. viewers such a singular experience, clinging to to support the vitality of the Melbourne Cinémathèque, an independently of Modern Art curator Dave Kehr notes, courtesy of the Filmoteca UNAM. studios, reflecting his apprenticeship memory like an unshakable dream, a glimpse organised, not-for-profit organisation. In addition to annual membership “American noir is largely a product of under Keisuke Kinoshita. Nevertheless, into some alternate zone where light falls you will receive: 24 AUG– Masaki Kobayashi: war trauma; Mexican noir of economic his third completed feature, The Thick- differently on faces, time moves by a different • 1 complimentary ticket for an ACMI programmed cinema session 07 SEPT The Human Condition 13 trauma”. Heroes of Mexican noir are Walled Room—an uncompromising measure, and terror blends disturbingly • 3 × single passes to bring a friend to a Cinémathèque screening any time in the desperate strivers struggling to make it depiction of the experiences of convicted with beauty” (Geoffrey O’Brien). 35mm print calendar year against a corrupt state and corporate Japanese war criminals based on factual courtesy of The Japan Foundation. • Discounted member prices for ACMI programmed cinema sessions 14–21 Despatches From the Radical collusion. In particular, the threat of accounts—was initially suppressed • 15% discount at ACMI Cafe & Bar and the ACMI Store SEPT Literary Czechoslovak Cinema poetically just punishment looms over by Shochiku for being too confronting • Exclusive invitations to cinema events, previews and screenings of the ’60s 14 the protagonists, exemplified by the and controversial. However, it was with • Subscription to the ACMI Film Member e-news brutal ending of Gavaldón’s Night Falls. this film that Kobayashi finally found • An ACMI Film Membership card that can be used to scan into Cinémathèque sessions. 28 SEPT Redux: The Poetic Cinema of Oppressive shadows, accusatory mirrors, his own style and voice, which would Andrei Tarkovsky cage-like geometric framings—these eventually lead to his three-part 10-hour MEMBERSHIPS AVAILABLE AT: MELBOURNE CIN 15 films contain the essence of noir, but masterpiece, The Human Condition, 2016 SCREENINGS with amped up melodrama. Even so, as a semi-biographical indictment of the • ACMI Tickets and Information Desk (03 8663 2583) 05 OCT Unsettling Worlds: • Online at www.acmi.net.au (booking fees apply for online transactions) the highlighted work of Gavaldón shows, 9:05 THE OTHER ONE 9:00 NIGHT FALLS 8:35 FOUR AGAINST THE WORLD dehumanising effects of war. This season 9:20 BLACK RIVER 9:20 STRIKE A LIFE FOR NOTHING Two Films by Lynne Ramsay there is a technical elegance and aura of imported 35mm prints draws focus Roberto Gavaldón Roberto Gavaldón Alejandro Galindo Masaki Kobayashi Masaki Kobayashi * Admission 18+ except where classification is indicated. 16 of quality that surrounds them, aided by away from Kobayashi’s anti-war films to * Membership does not ensure admission: Members will only be admitted to cinema (1946) 98 mins (1952) 85 mins (1950) 99 mins (1957) 114 mins (1971) 123 mins master cinematographers such as Gabriel draw attention to his mature and fantastic A high point in the partnership between Popular leading actor Pedro Armendáriz This dazed Mexican-melodrama-cum-boozer- Combining existential and humanistic An array of dissolute smugglers while away capacity. 12–26 The Power of Sex: The Films Figueroa and Alex Phillips working within work in the jidai-geki (Samurai Rebellion, Dolores Del Río and Gavaldón, this tale of plays against type as Marcos, a rising pelota heist-noir cuts a dark swath over a border themes garnered from his own personal and the hours at an isolated tavern, suspicious of OCT of Catherine Breillat the world-class Estudios Churubusco Strike a Life For Nothing), the portmanteau sibling jealousy and murder is a suspense (Mexican ball-sport) champion otherwise nominally dominated by the hardboiled reluctant wartime experience as a private in outsiders and all too keen to avoid trouble— 17 Azteca. Only recently made available horror film (Kwaidan), and gives a nod to WWW.MELBOURNECINEMATHEQUE.ORG classic. Del Río excels in her dual roles as known for his rampant womanising. After a likes of Chandler and Hammett. Employing the Japanese army, Kobayashi surveys the until the arrival of a young idealist trying to in restored and subtitled prints, this one of his less known but important anti- twins, one rich, the other poor, the latter young society woman falls pregnant to Marcos many of the classic tropes of Mexican noir immediate post-WWII social problems in a buy his beloved’s freedom from prostitution 02–16 The Past is a Foreign Country: season is a tantalising glimpse of a rich war films, Hymn to a Tired Man. assuming the former’s life and loves after the arrogant athlete becomes embroiled in (blood-tainted money, hothouse betrayals, community adjacent to an American military rouses their sense of solidarity. Kobayashi Like us on Facebook and follow us on Twitter for all Cinémathèque info. NOV The Cinema of Hou Hsiao-Hsien depository of international filmmaking. summarily dispatching her. The tormented a blackmail revenge plot involving the Mob. the entrapped yearnings of dark hearts), we base. Within a sordid and pitiless world weaves elements of poetic realism into this Articles on many films in the program can be found in Cteq Annotations on Film, 18 online at www.sensesofcinema.com narrative is matched by exquisitely oppressive Exquisite black-and-white cinematography follow the slow demise of a gang who hole seemingly devoid of optimism, Kobayashi stunningly shot adaptation of the novel by set design (Gunther Gerszo) and terrific boldly renders this sordid noir-inspired up in an attic in the wake of a fatal robbery. explores innocence, purity and the loss of Shugoro Yamamoto (who also wrote the source 23 NOV The Theatre of History: Email [email protected] support from actors Víctor Junco and Agustín vision of the corrupt world of gambling Galindo liberally dashes in lashes of the dignity, as a young woman (Ineko Arima) is novels for Kurosawa’s Sanjuro, Red Beard A Tribute to Manoel de Oliveira Join our weekly reminder list: send a SUBSCRIBE email to our address listed above. Irusta. The story by Rian James was adapted and gangsters around Mexico City’s famous smokiest amour mort, gradually whittling it tempted into prostitution by a local petty and Dodes’ka-den). Tatsuya Nakadai delivers 19 almost 20 years later as the basis for the Bette down to an ill-fated if rapturous coupling of criminal (Tatsuya Nakadai). With Fumio another exceptional performance as the Frontón arena. Adapted from a short story by Davis vehicle Dead Ringer. Digital Restoration the novelist Luis Spota (In the Palm of Your gangster’s moll and underling. Starring Leticia Watanabe. 35mm print courtesy of The Japan enigmatic “Sadahichi the Indifferent”. 35mm Archival Allegories: 30 NOV– courtesy of the Filmoteca UNAM. Hand). Digital Restoration courtesy of the Palma and Víctor Parra. Digital Restoration Foundation. print courtesy of The Japan Foundation. An Introduction to the 07 DEC Filmoteca UNAM. courtesy of the Filmoteca UNAM. 20 Films of Harun Farocki 14 DEC Footage Fetishist: Erich von Wednesdays at ACMI, Stroheim, Total Filmmaker Federation Square, Melbourne Part Three melbournecinematheque.org 21 BREAK FOR MIFF

14 September 21 September 05 October 12 October 19 October 26 October The Melbourne Cinémathèque is a not- for-profit organisation dedicated to importing and screening significant films from the history of international cinema. The Melbourne Cinémathèque started out 14–21 SEPT 28 SEPT 05 OCT 12–26 OCT as The Melbourne University Film Society DESPATCHES14 FROM THE RADICAL 7:00 PEARLS OF THE DEEP 7:00 MARKETA LAZAROVÁ REDUX:15 THE POETIC CINEMA UNSETTLING16 WORLDS: TWO FILMS 7:00 RATCATCHER THE POWER17 OF SEX: THE FILMS 7:00 A REAL YOUNG GIRL 7:00 ROMANCE 7:00 THE LAST MISTRESS in 1948. We changed our name in 1984 LITERARY CZECHOSLOVAK CINEMA Jiří Menzel, Jan Němec, Evald Schorm, František Vláčil OF ANDREI TARKOVSKY BY LYNNE RAMSAY Lynne Ramsay OF CATHERINE BREILLAT Catherine Breillat Catherine Breillat Catherine Breillat Věra Chytilová, Jaromil Jireš (1967) 165 mins (1999) 94 mins (1976) 89 mins (1999) 84 mins R18+ (2007) 104 mins R18+ to reflect the Cinémathèque’s broadened OF THE ’60S (1966) 105 mins Nowadays often proclaimed the greatest Russian master Andrei Tarkovsky Scottish filmmaker Lynne Ramsay Set amongst decrepit Glasgow tenements, Known for her explicit and confronting Breillat’s debut film, adapted from her Deeply divisive in its chronicling of one Breillat creates a brutally sensual period film, CO-PRESENTED WITH THE CZECH AND In one of the great anthology films, five Czech film ever made, this dense, (1932–1986) made seven feature-length (1969–) has realised only a slim body of Ramsay films this story of a troubled portrayals of women’s sexuality, fourth novel Le Soupirail, is a powerful woman’s burgeoning sexual odyssey, distinctively eviscerating romantic illusions activities and ambitions. SLOVAK FILM FESTIVAL OF AUSTRALIA leading lights of the burgeoning Czechoslovak hallucinatory medieval epic, pitting clan films during his lifetime. The Melbourne work, making three feature films since childhood with a transcendental attention to provocateur, writer and filmmaker depiction of female sexual fantasies and Breillat’s cool, insidious curlicue of a film with a decadent vision of aristocratic sexual Czechoslovakia had long tapped home- New Wave each adapted a story from the against clan and Christians against Pagans, Cinémathèque’s 2014 retrospective, her 1999 debut, yet she has been justly textures and sensations. Assisted by Alwin Catherine Breillat focuses wholly on experiences. With its frank presentation of was responsible for a commentariat furore excess. Adapted by the director from Jules- Today the Melbourne Cinémathèque recent, if long delayed, debut publication is a nearly 3-hour long rush of indelible, high Geographies of Place and Time: The celebrated as one of the most original and H. Küchler’s sensitive cinematography, the female psychology. No stranger to a teenage girl’s developing sexual agency, in Australia that ultimately paved the way for Amédée Barbey d’Aurevilly’s erotic novel, it grown literature as a fecund wellspring programs a diverse selection of classic for its cinema, but the thawing of Soviet of Bohumil Hrabal, the most revered Czech contrast, black-and-white ’Scope imagery, Poetic Cinema of Andrei Tarkovsky, powerful voices working in contemporary director ruminates on the fragility of life and controversy, Breillat published her first the film came under criticism and was held an overhaul of the R18+ classification. Seen features Asia Argento as a ferocious force in censorship in the 1960s, coterminous with writer of his generation. Each finds cinematic shot with an ever prowling camera, edited screened four of these in what remains British cinema. This program explores desires against the backdrop of a garbage book at age 17, an erotic novel that was in censorship limbo, finally being released today, Breillat’s methodical interest in the the title role. A remarkably assured change and contemporary films featuring archival analogues for Hrabal’s iconoclastic adoption furiously and constantly switching between one of our most popular seasons to date. the “immersive and at times almost strike. Amidst the earthy colour palette and banned for purchase by anyone under in theatres almost a quarter-century after it philosophical and sociological codification of genre for Breillat, the film communicates a state subsidisation of film production and material and new or restored prints. cooperation across an unprecedentedly of vernacular language, celebrations of objective and subjective points-of-view. Trying We are pleased to augment this with overwhelming” (Harvard Film Archive) gloomy realism of Ramsay’s feature debut as 18 because of its openly sexual subject was completed. Explicit for its time, Breillat’s of sexual coupling comes to the forefront, devastating power through its richly designed rich pool of intergenerational talent, individual idiosyncrasy and affinity for the to keep up with the labyrinthine plot—even if a rare 35mm screening of Tarkovsky’s world of Ramsay’s films, screening two writer and director lies a mesmerising glow matter. Since 1975, Breillat has written soft-focus aesthetic is beautifully poetic and as does her penchant for a literary form of mise en scène. Shot with extreme precision gave rise to a spate of extraordinarily absurd, as shot by Jaroslav Kučera, the its dizzying twists and turns are telegraphed preferred cut of his lengthy medieval of her intensely personal explorations of that reveals a heartbreaking affection for the and directed films, often adapted from nuanced, signalling her future approach to deadpan, behavioural absurdity that can be by Breillat and Theo Angelopoulos’ regular The Melbourne Cinémathèque is self- vital new literary adaptations. In this talismanic cinematographer of the New Wave. in ornately worded chapter headings—is masterpiece, Andrei Rublev. youth and grief. film’s subjects. With William Eadie and Leanne her own novels, exploring women’s (at incendiary subject matter. With Charlotte traced back to her early years as a novelist cinematographer Giorgos Arvanitis. administered and membership-driven, season of imported titles, courtesy of the Hrabal enjoys a cameo in each segment, while secondary to giving in to the film’s experiential Mullen, and a powerful musical score by times masochistic) relationship to desire Alexandra and Hiram Keller. (ever the firebrand, Breillat published her first National Film Archive in Prague, eight key Menzel’s is his feature debut and the first of potency, as Vláčil’s painstaking insistence Rachel Portman. and using sex to examine power struggles novel at the tender age of 17). relying on support from individuals, between men and women. Reprehensively directors of the 1960s adapt the work of many collaborations with the author. DCP on 13th-century period exactitude and organisations and government funding to three major 20th-century authors in three courtesy of the National Film Archive in Prague. hardscrabble brutality is raised, by stunning dubbed the “auteur of porn”, Breillat innovative films that made huge strides atmospherics inclusive of a majestic Zdeněk focuses on frank sexual encounters and maintain its standard of excellence. away from the stifling demands of Soviet Liška choral-electronic score, to the order the complex inner lives of women rather socialist realism. In the omnibus film of the sublime. Starring the luminous Magda than intricate narratives. Whether it is WWW.MELBOURNECINEMATHEQUE.ORG Pearls of the Deep, five alumni of Prague’s Vášáryová as the eponymous Marketa. 4K exploring adolescent sexuality, casting storied film school FAMU—Jiří Menzel, digital restoration courtesy of the National an Italian porn star or filming real Jan Němec, Evald Schorm, Věra Chytilová Film Archive in Prague. intercourse, Breillat is obsessive and and Jaromil Jireš—each adapted a short unflinching in depicting sexual relations. story by Bohumil Hrabal in what came Her cinéma du corps lingers clinically on to be considered a manifesto for the sex in real-time action complete in its Czechoslovak New Wave. Amongst their messy, painful realism, and portrayed lecturers at FAMU, Elmar Klos’ Death is without romanticism or overly expressive Called Engelchen, co-directed with regular emotion. This season showcases Breillat’s partner Ján Kadár and based on Slovak 8:55 DEATH IS CALLED ENGELCHEN 7:00 ANDREI RUBLEV 8:45 MORVERN CALLAR key works including her first film, A Real 8:40 À MA SOEUR! 8:35 BLUEBEARD 8:55 ANATOMY OF HELL writer Ladislav Mňačko’s memoiristic WWII Ján Kadár, Elmar Klos Andrei Tarkovsky Lynne Ramsay Young Girl, her international breakthrough, Catherine Breillat Catherine Breillat Catherine Breillat novel, is scarcely less groundbreaking, (1963) 129 mins (1966) 183 mins PG (2002) 97 mins M Romance, and the divisive Anatomy of Hell, (2001) 86 mins R18+ (2009) 80 mins (2004) 77 mins R18+ expressive or urgent than his students’ Structurally reminiscent of Alain Resnais’ Deemed “dangerous” by the Soviet Assuming the literary identity of a recently the last two of which both initially faced Sibling rivalry comes to the fore when two Charles Perrault’s morbid fairytale is A suicidal woman (Amira Casar) hires her work. František Vláčil was more of Hiroshima mon amour, this existential, authorities of the time, and banned suicided boyfriend, “Morvern Callar” sets bans in Australia upon their release. very different sisters on a seaside holiday preserved as an elegant 17th-century costume rescuer (played by generously endowed an outlier, belonging to a generation nonlinear, taboo-busting work is based on from release for several years, this off from small-town Scotland to the sun debate love, sex and losing their virginity. drama, narrated through vividly imaginative porn star Rocco Siffredi) to spend four nights between Kadár and Klos, and FAMU’s star Ladislav Mňačko’s bestseller, which drew magnificent and truly epic film is often and parties of southern Spain with her best Attractive, flirtatious 15-year-old Elena eyes as a pair of sisters read from a storybook watching her, facing the hell of the female alumni. Newly digitally restored in 4K, on his experiences in the Slovak partisan regarded as Tarkovsky’s masterpiece and friend. Lauded at Cannes for its dreamy (Roxanne Mesquida) draws advances from an in their attic. The ogreish Bluebeard body. Breillat’s “feminist existential porn”, Marketa Lazarová, Vláčil’s adaptation of resistance movement during WWII and sugar- is unquestionably one of the greatest films cinematography, edgy soundtrack (Can, Italian student while chubby, plain 12-year-old (Dominique Thomas) and his elfin wife, Marie- an adaptation of her own novel Pornocracy, murdered avant-garde polymath Vladislav coated none of it. Paralysed, lying prostrate ever made about an artist. Based on the Broadcast, Aphex Twin, Lee Hazlewood) and Anaïs (Anaïs Pingot) looks on with jealousy. An Catherine (Lola Créton), circle each other confronts misogyny and the male gaze Vančura’s same-named 1931 novel, is in a hospital bed, a despondent young life of the medieval monk and pioneering career-defining performance by Samantha explicit and provocative look at teen sexuality in their castle in a claustrophobically erotic with eyes and legs wide open. Provocative, finally receiving its due recognition as a man (Jan Kačer) is haunted by flashbacks painter of Russian icons (played by Morton in the title role, Ramsay’s second, and desire portrayed in all its clumsy, display of desire and self-control. Ultimately, agitational and providing humour not quite peerlessly hypnotic, otherworldly Middle of his time as an idealistic guerrilla fighter Anatoly Solonitsyn), this historical fresco much-celebrated feature film is the perfect fumbling realism; what appears initially to a tale about forbidden temptations, this is a as unintentional as its detractors would have Ages masterpiece. This season will be battling occupying Nazi forces in Moravia. combines weighty moral and national distillation of her impressionistic cinema of be a summer coming-of-age story reveals sublime chamber of horrors given Breillat’s us believe, Breillat offers a philosophy of supplemented by further thematically Rudolf Milič’s adroit handheld camerawork concerns with an audacious display of unsettlement. “Pure punk existentialism” something more fundamentally disturbing, classically feminist spin. female corporeality unlike anything else in linked films in the programme for the and Zdeněk Liška’s plangent score lend an formal experimentation. Several of its set (Elvis Mitchell, The New York Times). 35mm driven home by a shocking finale. With recent cinema. 2016 Czech and Slovak Film Festival, in atmosphere of dread and urgency to a film of pieces, the sacking of a medieval town and print courtesy of the National Film and Sound Arsinée Khanjian. partnership with the Melbourne UNESCO rare sophistication and power. DCP courtesy the creation of a large bell, are amongst Archive, Australia. City of Literature Office. of the National Film Archive in Prague. the greatest in Tarkovsky’s cinema. Co- written by Andrei Konchalovsky. 35mm print courtesy of the National Film and Sound Archive, Australia.

02 November 09 November 16 November 23 November 30 November 07 December 14 December 02–16 NOV 23 NOV DEC 30 NOV–07 14 DEC THE PAST18 IS A FOREIGN COUNTRY: 7:00 A CITY OF SADNESS 7:00 A TIME TO LIVE, A TIME TO DIE 7:00 THREE TIMES THE THEATRE19 OF HISTORY: 7:00 VISIT, OR MEMORIES ARCHIVAL20 ALLEGORIES: 7:00 IMAGES OF THE WORLD AND 7:00 IN COMPARISON 9:50 STILL LIFE FOOTAGE21 FETISHIST: ERICH VON 7:00 THE WEDDING MARCH Hou Hsiao-Hsien Hou Hsiao-Hsien Hou Hsiao-Hsien AND CONFESSIONS THE INSCRIPTION OF WAR Harun Farocki Harun Farocki Erich von Stroheim THE CINEMA OF HOU HSIAO-HSIEN (1989) 157 mins M (1985) 138 mins PG (2005) 120 mins A TRIBUTE TO MANOEL DE OLIVEIRA Manoel de Oliveira AN INTRODUCTION TO THE Harun Farocki (2009) 61 mins (1997) 56 mins STROHEIM, TOTAL FILMMAKER (1928) 113 mins PART THREE Hou Hsiao-Hsien (1947–) is one of the key Hou’s most commercially successful film A resonant and moving account of two Recognised on its arrival as a new pinnacle Until his death at the age of 106 in April (1982/2015) 68 mins FILMS OF HARUN FAROCKI (1989) 75 mins Focusing on the methods of brick building, Farocki’s preoccupation with the Barthesian Following the commercial success of The figures of contemporary cinema, a widely in Taiwan is a complex, panoramic and periods in 20th-century Taiwanese history in Hou’s work, this masterful film uses a last year, Portuguese director Manoel de Oliveira’s cinematographic elegy is an “Today, perhaps the cinema’s most Farocki’s intriguing and troubling film explores as well as their unique forms, meanings power of cultural-industrial detritus proceeds No other filmmaker has suffered the Merry Widow, Stroheim embarked on acclaimed and awarded filmmaker who politically bold family saga beautifully shot as seen through the eyes of a boy whose tripartite structure to explore the relationship Oliveira (1908–2015) was considered to be exploration of spaces (including the director’s illustrious artist-archaeologist, and the processes of visual perception and how and cultural applications, Farocki explores from a typically brilliant formal hypothesis: indignity of being called an “incomplete this epic production. Showing trademark has produced intimate, epic, historical, by Chen Huai-en. Set at the time of the family has recently emigrated from Mainland between young men and women across three the oldest active filmmaker in the world. home in Porto), objects and loved ones allegorist-archivist, is Harun Farocki,” they affect our understanding of history these processes as nothing less than the seeing 20th-century advertising as today’s filmmaker” as often as Erich von Stroheim perfectionism and disdain for budgets and domestic, international and supremely formation of modern Taiwan, between the China. Shot with extraordinary delicacy by periods: 1966, 1911 and 2005. The three Born not long after the invention of cinema encompassing the prodigious director’s life wrote film scholar Thomas Elsaesser and society. In a work reminiscent of the building blocks of a society, of societies, by analogue to the still life paintings of the 17th- (1885–1957). It is difficult to come to an deadlines, Stroheim created a film—a love local works of exquisite beauty and end of WWII and Nationalist China’s fall to the Mark Lee Ping Bin, Hou’s autobiographical couples are played by the same actors, art- itself, Oliveira was the only director whose and filmmaking career. Made in 1982, with the a decade before Farocki (1944–2014) writings of Paul Virilio and Michel Foucault, comparison. Seemingly uninflected by century Flemish masters. A cheeseboard, accurate critical appraisal of Stroheim’s triangle featuring a pauper prince (Stroheim), formal rigour for over 30 years. Hou’s communists in 1949, it is the director’s most masterpiece is a brilliantly simple but multi- house drawcard Chang Chen (Happy Together career reached from the silent era to the instruction that it not be shown until after his passed away. Critical interest in the Farocki examines a range of phenomena intervention or voiceover narration, we pass beer glasses, a watch, are all made over as work based on the frustratingly partial, a beautiful innkeeper’s daughter (Fay Wray cinema is often concerned with his ambitious, devastating and expansive film. faceted portrait of loss and the complacency and The Assassin) and Shu Qi (Millennium digital age. He was also, unquestionably, death, Oliveira’s ruminative observations and prolific essayistic filmmaker, director including aerial reconnaissance photos of the through 20 intertitles in an hour to dance that most revered of contemplative sites: incomplete and forcibly abandoned in one of her first lead roles) and a brutish experiences of growing up in rural Taiwan The remarkable dramatic thrust of Hou’s film of childhood. FIPRESCI Prize winner at the Mambo and The Assassin). Hou’s complex, a major figure of world cinema who was fluid camerawork bring his distinctive world of fiction features, experimental Auschwitz concentration camp. Followed by around a cavalcade of colour, movement the “art object”. Typically, Farocki restricts nature of the works that make up his butcher—that was forcibly split into two parts in the 1950s and 1960s, a time which lies in its constant evocation of transience and Berlin Film Festival; Tony Rayns called it “One sensuous minimalism emphasises repetition recognised by lifetime achievement to life yet again in a deeply personal essay documentarian, installation artist, The Inextinguishable Fire Harun Farocki and sound, each nodule sliding in with himself to reworking material produced solely filmography—The Devil’s Pass Key, (Josef von Sternberg was assigned to re-edit saw the settlement of refugee families the precariousness of its characters’ lives, as of the cinema’s classic visions of childhood and timelessness, on one hand, while awards from the Cannes and Venice film that drifts through physical spaces and orbits writer and theorist has only increased (1969) 22 mins. Farocki’s remarkable early constructivist precision. “The film shows us through the original means of consumption- Queen Kelly, The Wedding March and the picture; the second part, The Honeymoon, from the Mainland, severe social and well as its status as the first movie to openly and adolescence”. Co-written by Hou’s contrasting the manners and sexual mores of festivals as well as being awarded the around intangible memories. Finally screened in the intervening years, especially as agitprop work is an austere treatise on the that certain modes of production require production, emerging with a portrait of the the legendary, lost almost 8-hour cut is now considered lost). Compromised though political controls and the beginnings deal with the “white terror” unleashed by the regular collaborator Chu T’ien-wen. 35mm different periods, on the other. French Legion of Honour. The Melbourne in 2015, it is now available with thanks to Anglophone film culture attempts to military-industrial complex that produces their own duration and that differences modern world as both sci-fi simulacrum of Greed—made at a time when the it may be, the film’s greatness was eventually of the most significant social changes Kuomintang government in the late 1940s. print courtesy of the National Film and Sound Cinémathèque takes this opportunity to the Oliveira family. 35mm print courtesy of catch up with the esteem Farocki was napalm: “When napalm is burning, it is too between cultures can be shown in brick time” and memento mori. Courtesy of the National widespread appreciation of the art of recognised by its inclusion in the Library of in modern Taiwanese history (the Stars Tony Chiu Wai Leung and Jack Kao. Archive, Australia. pay tribute to a great director. Cinemateca Portuguesa. accorded in his home country, Germany. late to extinguish it. You have to fight napalm (Ute Holl). Film and Sound Archive, Australia. cinema was not yet commonplace, Congress’ National Film Registry. With Zasu economic boom that led to widespread 35mm print courtesy of the National Film and Farocki was among the inaugural intake at where it is produced: in the factories.” Prints much less the will to preservation. Most Pitts. Digital Restoration courtesy of the Westernisation and urbanisation). Hou’s Sound Archive, Australia. the German Film and Television Academy courtesy of the National Film and Sound damagingly but brilliantly, Billy Wilder Austrian Film Museum. films are intimate expressions of these Berlin (DFFB) and graduated amid the Archive, Australia. cast Stroheim as a thinly fictionalised tumultuous times and experiences, as tumult of 1968 along with peers such as embodiment of the Hollywood casualty well as profound meditations on history, Hartmut Bitomsky and future Red Army in Sunset Blvd. Stroheim has been cast identity, growing up and the materiality of Faction member Holger Meins. While in the shadow of this spectre ever since. everyday life. Hou’s emotionally charged producing notorious pieces of agitprop Yet Stroheim was also one of the most work is replete with highly nostalgic and such as The Inextinguishable Fire, Farocki accomplished, inventive and modern of bittersweet images, their power lying also found work in the state-run TV all European émigré directors, past or in his cinema’s total immersion in the industry, where what he described as present. As the émigré son of working- past and its sympathies for the fate of “benign neglect” allowed him to finance class Austrian Jews (who nevertheless families and individuals who suffered and produce many of his experimental styled himself a high Count), Stroheim’s during difficult times. In a poetic yet documentaries. Farocki’s work over more status as the pre-eminent Hollywood relaxed style, Hou’s films reflect a deep outsider imbues his work with a tragic 9:45 THE ASSASSIN 9:30 DUST IN THE WIND 9:10 FLIGHT OF THE RED BALLOON 8:20 FRANCISCA than four decades amounted to more than 8:55 VIDEOGRAMS OF A 8:10 MATERIALIST FILM HISTORIES 9:05 THE MERRY WIDOW sympathy, everyday materiality and inexorability and gentle romanticism, Hou Hsiao-Hsien Hou Hsiao-Hsien Hou Hsiao-Hsien Manoel de Oliveira 90 films and videos. This season, while it REVOLUTION Harun Farocki Erich von Stroheim profound humanism not unlike the work qualities heightened further by the (2015) 107 mins PG (1987) 109 mins PG (2007) 115 mins PG (1981) 166 mins can only scratch the surface, presents a Harun Farocki and Andrei Ujică (1995–97) 89 mins (1925) 137 mins of Yasujiro Ozu (an avowed influence). knowledge that Stroheim worked as a Hou’s most recent film is a widely celebrated Hou’s eighth film, detailing the bittersweet Hou’s first film shot outside Asia is a typically Oliveira’s brilliant and expressly literary grounded entry to the director’s oeuvre, (1992) 106 mins This program of three short essayistic works This expressly baroque and bitingly satirical This season brings together a number total filmmaker: penning several of his wuxia based on a famous story by Pei Xing fate of a young couple who move from a profound and measured expansion of Albert adaptation of Agustina Bessa-Luís’ 1979 novel with a selection drawn from across his Working with Andrei Ujică (The Autobiography demonstrates Farocki’s acute and playful deconstruction of Franz Lehár’s operetta of Hou’s greatest films to explore the most potent works (Blind Husbands, about a looming, seemingly inevitable remote mining town to Taipei, was the Lamorisse’s iconic and much-loved 1956 is widely regarded as one of the director’s working life. Trenchantly political yet of Nicolae Ceausescu), Farocki chronicles facility with reworking existing images and is one of the great American silent films. key trends in his work from the exquisite Foolish Wives) in addition to occupying outbreak of violence predestined by the aesthetic culmination of the director’s early short, The Red Balloon. A mood of sublime key works and the first of his long, fruitful studiously sober and dispassionate, the end of the Romanian dictatorship and exploring materialist film history. Workers One can almost whiff the stench of decay memory works of 19th-century China a multitude of roles both behind and in forces of history and ancestry. Hou applies his filmmaking career. It crystallised for the first restraint is created through exquisite collaboration with producer Paulo Branco. In Farocki’s films are interventions in the the ways the revolution will or will not be Leaving the Factory (1995) uses the seminal that palls across the Hapsburg Empire in and mid-20th-century Taiwan (A Time front of the camera. This handpicked meditative and meticulously choreographed time his signature style, in which seemingly technique, as textures, texts and cultures many ways this tragic story of doomed love image regime that has come to shape televised. An extraordinary example of found Lumière Brothers film to instigate an Stroheim’s characteristically cluttered, to Live, A Time to Die and Dust in the season of 35mm prints includes Stroheim’s “slow cinema” style to the traditionally small moments and detail provide signs double upon each other in a paradoxically harks back to the elemental, shadowy world society; over consecutive weeks, this footage documentary, the film is composed exploration of this trope across film history meticulously detailed and opulent opus. Wind) to his epic but intimate account most celebrated works of the late silent energetic, action-oriented genre in order to of major narrative developments. It also opaque clarity. Juliette Binoche as the of silent cinema while paving the way for the season will elucidate two of Farocki’s entirely from amateur video and state (Metropolis, Modern Times, Red Desert) Fascinatingly weird and grotesque characters of the aftermath of the formation of era (The Merry Widow, The Wedding canvas an array of politically resonant tensions continued the screenwriting collaboration mother of the balloon-pursuer is in career- extraordinarily productive final phase of the key concerns, the relationship between television broadcasts to create a contrasting and its gradual disappearance as a figure of parade across the film’s visually brilliant modern Taiwan (his masterwork, A City of March), the monumental Greed, the film between what is visible and obscured, flatness between Chu T’ien-wen and Wu Nien-jen, best form, alongside Fang Song as the director’s career. Deploying a heightened images, violence and history, and the study in how images and media are used industrialised labour. Courtesy of the National tableaux while the romance between Prince Sadness) and the series of mature works that defined his career and reputation, and depth, isolation and population, myth and whose own background story the script film student babysitter. “In its unexpected mixture of self-conscious theatricality, value of labour, including the role of the to create ideologies. Culled from 125 hours Film and Sound Archive, Australia. Interface Danilo (John Gilbert) and the “Merry Widow” that fully demonstrate his place as a and his moving performance in Jean reality, intrigue and action (or inaction). With is based on. The film features significant rhythms and visual surprises… its creative historical detail and documentary fidelity, artisan-filmmaker. of footage, the film suggestively moves (1995) is a self-reflexive account of Farocki’s (Mae Murray) unfolds. Shot by Oliver T. Marsh modern master (Three Times, Flight of the Renoir’s profoundly humanist anti-war Shu Qi and Chang Chen. contributions from regular Hou collaborators misunderstandings and its outré syntheses, Oliveira’s opus is “one of the most complete from camera to camera to—in a deliberate own practice as an image producer. The and designed by the great Cedric Gibbons. Red Balloon, The Assassin). classic, La grande illusion. Additional cinematographer Mark Lee Ping Bin and Li this is a movie of genius” (J. Hoberman). expressions of the director’s eight decade This season has been co-curated with invocation of Eisenstein—tell the story of five Expression of Hands (1997) returns to cinema Joan Crawford and Clark Gable appear as screenings in this three-part season Tian-lu as Grandpa. 35mm print courtesy career” (Michael J. Anderson). 35mm print Nic Tammens, in association with a days that shook the world. Courtesy of the history to compile a taxonomy of close-ups ballroom dancing extras. 35mm print courtesy take place on 30 March and 4 May. of the National Film and Sound Archive, courtesy of Cinemateca Portuguesa. project focusing on Farocki to be exhibited National Film and Sound Archive, Australia. of hands (Pickup on South Street, North of The Library of Congress. Australia. at the Victorian Trades Hall this year. by Northwest) denoting labour, exchange, Information will be made available on emotion and expression. the Cinémathèque website towards the exhibition dates.

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