Dedicated to screening rare & significant films in their original format.

The Melbourne Cinémathèque is a not-for-profit, volunteer-run film society.

We hold screenings at The Australian Centre for the Moving image every Wednesday night for most of the year.

Admission is by membership, which can be obtained on a monthly or yearly basis.


May 3

Fred Newmeyer & Sam Taylor (1923) 67 mins
Unclassified (with no age restrictions)

A classic of American social comedy, Lloyd’s most famous work appears today as a singularly lucid encapsulation of the hopes and depredations of early modernism. Trading off his image as the quintessential American “working man,” Lloyd’s bespectacled, go-getter persona substitutes the inspired models of Keaton and Chaplin for a harsher, more existentialist approach to physical comedy. Radically and profoundly de-centring Lloyd’s presence, the film emphasises the ways modern city life enforces social mobility through its control of space – a sobering, very 21st century notion.

CTEQ Annotation:
Safety Last! by James L. Neibaur.


8:20pm WHY WORRY?
Fred Newmeyer & Sam Taylor (1923) 63 mins
Unclassified (with no age restrictions)

In this under-appreciated classic, Lloyd steps out of his famous “speedy” go-getter character and into the role of a wealthy hypochondriac travelling to the tropical “El Paradiso” to relax, yet finding himself in the midst of a revolution. Lloyd’s meticulously designed gag sequences and sly lampooning of American life still dominate even when faced with a foreign “exotic” culture. Containing early examples of the surreal madcap humour subsequently popularised by the Marx Brothers in Duck Soup, it also provided the blueprint for Woody Allen’s Bananas many decades later.

CTEQ Annotation:
Why Worry? by Brad Weismann.

Fred Newmeyer & Sam Taylor (1925) 76 mins
Unclassified (with no age restrictions)

Lloyd’s dopey freshman is determined to be popular in this classic tale of an awkward misfit who falls in love with his landlady’s daughter. Amidst a slew of classic college archetypes and situations, this simple narrative enables Lloyd’s inventive physical comedy to be strengthened by a genuinely sympathetic persona. Lloyd’s biggest box-office hit was also a peak in his artistic career. It also illustrates his influence on the rest of Hollywood, where the number of films using this setting – including Buster Keaton’s College in 1927 – increased exponentially in the following years.

CTEQ Annotation:
The Freshman by Fred Newmeyer & Sam Taylor.



The Melbourne Cinémathèque started out as the Melbourne University Film Society (MUFS) in 1948 and changed its name to Cinémathèque in 1984.

The Melbourne Cinémathèque aims to present films in the medium they were created and as closely as possible to screen films the way they would have originally screened (i.e. big screen, celluloid prints, not video or DVD).

Programmes include a diverse selection of classic and contemporary films showcasing director retrospectives, special guest appearances and thematic series including archival material and new or restored prints.

We have on occasion hosted numerous seminars featuring renowned film scholars such as David Bordwell, Adrian Martin and Ian Christie. We are also dedicated to providing new annotations on the films we screen via the CTEQ annotations, hosted as a part of the quarterly online film journal Senses of Cinema.

The Melbourne Cinémathèque is self-administered and membership-driven relying on support from individuals, foundations, corporations and government funding to maintain its high standard of excellence. If you would like to be involved, or to offer donations or sponsorship, please contact us.

Presented by The Melbourne Cinémathèque and the Australian Centre for the Moving Image.

Curated by the Melbourne Cinémathèque.

Curatorial Committee: Michael Koller, Michelle Carey, Adrian Danks and Eloise Ross with assistance from Cerise Howard.

Supported by Screen Australia and Film Victoria.


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MARCH 16, 7:00PM Douglas Sirk’s ALL I DESIRE to be replaced by Billy Wilder’s DOUBLE INDEMNITY as part of the Barbara Stanwyck program.