Melbourne Cinémathèque Wildflowers: Dancing, Desire and Freedom in the Films of 2021 Gillian Armstrong
2 – 16 JUNE WEDNESDAY 2 JUNE WEDNESDAY 9 JUNE WEDNESDAY 16 JUNE
One of Australia’s most successful directors, Gillian Armstrong (1950 has built a significant profile as a filmmaker in her home country, in addition to maintaining a career internationally. Entering the industry in the 1970s, Armstrong was more than just an important part of the Australian cinema revival – with 7:00PM 7:00PM 7:00PM My Brilliant Career in 1979 she was MY BRILLIANT CAREER HIGH TIDE STARSTRUCK the first woman to direct a 35mm feature film in Australia for over four Gillian Armstrong (1979) Gillian Armstrong (1987) Gillian Armstrong (1982) decades, going on to contribute sig- 100 mins : G 101 mins : M 105 mins : PG nificantly to the national landscape Based on Miles Franklin’s semi-auto- Eight years after the trailblazing My Jo Kennedy’s debut role as an ener- with some of its most impressive, biographical 1901 novel, Armstrong’s Brilliant Career, Armstrong and Judy getic singer who spends her days brilliantly modern films. Spread first feature is a milestone in Davis collaborated once more on this working behind a bar, entertaining across the realms of commercial Australian feminist cinema. An emotionally rich multi-generational dreams of becoming a big star. Fully and independent cinema, fiction unknown at the time, Judy Davis drama. Davis plays a back-up singer embracing the category of Australian and documentary, Armstrong’s films won a BAFTA Award for her portrayal who, when left stranded in a seaside rock musicals inspired by the fantasies exercise a consistently sensitive of a headstrong, free-spirited girl village on the NSW coast, re-encoun- of classical Hollywood – with a kitschy sympathy with women and issues who refuses to follow convention ters the daughter she abandoned punk twist – Armstrong’s sophomore that affect them. It is this emotional and dreams of a better life amongst years earlier. Skirting clear of any hint feature remains one of her most under- and feminist trajectory, continued the farmlands of sun-baked rural of cheap sentimentality, care of Laura valued films. Armstrong embraces the throughout her career, that reflects Australia. Also features Sam Neill and Jones’ (An Angel at My Table) pene- spectacle of the genre, with dazzling the importance of her own role as Wendy Hughes. Preceded by The trating script, this raw and affective choreography, location cinematog- filmmaker. However, with work that Roof Needs Mowing 1971 8 mins. film evocatively expresses the painful raphy around Sydney Harbour, and a spans a number of genres, it is not Armstrong’s breakthrough student reality of fractured relationships. soundtrack by The Swingers and Tim only Armstrong’s thematic insight film is a whimsical, surreal vision of Davis and co-star Jan Adele won AFI Finn of Split Enz.6 that should be celebrated, but also everyday life and suburban boredom.1 Awards.3 her outstanding aesthetic skills as a director – she has a sharp sense of story, design, acting, music and rhythm. As Felicity Collins writes, her work “participates fully in the aesthetic force-field of Australian naturalism and arthouse realism”. This season of mostly celluloid prints endeavours to pay tribute to the extraordinary breadth and longevity of Armstrong’s career, and 9:00PM 8:50PM 8:55PM includes early shorts made while CERTAIN WOMEN: THREE UNFOLDING FLORENCE: THE LITTLE WOMEN still a student, famous and under- FILMS BY GILLIAN ARMSTRONG MANY LIVES OF FLORENCE Gillian Armstrong (1994) seen features, and a selection of Gillian Armstrong (1973-1980) BROADHURST 115 mins : G documentaries. 107 mins : Unclassified 15 + Gillian Armstrong (2006) Armstrong’s third American feature is A program of three early Armstrong 82 mins : PG the most successful filmic adaptation 1. Both films courtesy of the National Film and documentaries and short fictions. Armstrong’s playful documentary- of the classic 1868 novel by Louisa Sound Archive, Australia. The Singer and the Dancer 1977 drama about the larger-than-life May Alcott. With meticulous direction 2. Prints of all three films courtesy of the is Armstrong’s first long-form nar- Sydney-based artist, socialite and magnetic performances from National Film and Sound Archive, Australia. rative and stars Ruth Cracknell as a and wallpaper designer Florence the ensemble cast including Susan 3. 35mm print courtesy of the National lonely older woman, estranged from Broadhurst. Along with writer Sarandon, Kirsten Dunst, and Winona Film and Sound Archive, Australia. Rights her daughter, who is finally able to Katherine Thomson, Armstrong fash- Ryder as Jo, the film is a moving courtesy of Anthony I. Ginnane © 1987 SJL find communion. In her student film ions a visually flamboyant portrait of an interpretation of a timeless classic; Productions Pty Ltd. One Hundred a Day 1973, a young impossible to pin down personality, as its subtle charms, intelligence and 4. Courtesy of the National Film and Sound labourer in the 1930s discovers she well as an account of her lurid life and warmth remaining true to the story’s Archive, Australia. is pregnant. 14’s Good 18’s Better unsolved violent death.4 Followed by heart. Preceded by Satdee Night 5. Courtesy of AFTRS. 1980 is a sequel to Smokes & Lollies, Gretel 1973 27 mins – Unclassified 1973 17 mins – Unclassified 15 . 6. Courtesy of the National Film and Sound a landmark documentary about three 15 . This contemporary work, based Armstrong’s observational short Archive, Australia. young girls from Adelaide. Armstrong on a story by Hal Porter, is the last follows the mundane life of a man 7. Prints of both films courtesy of the National revisits them four years later as they of the three films Armstrong made at who gets lost in the rush of Sydney’s Film and Sound Archive, Australia. reach the cusp of adulthood.2 AFTS, which kickstarted her career.5 Saturday nightlife.7 Melbourne Cinémathèque 2021 Screenings
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