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.



Scottish filmmaker Lynne Ramsay (1969–) has realised only a slim body of work, making three feature films since her 1999 debut, yet she has been justly celebrated as one of the most original and powerful voices working in contemporary British cinema. This program explores the “immersive and at times almost overwhelming” (Harvard Film Archive) world of Ramsay’s films, screening two of her intensely personal explorations of youth and grief.

Lynne Ramsay
 (1999) 94 mins
Unclassified 15+ Unless accompanied by an adult

Set amongst decrepit Glasgow tenements, Ramsay films this story of a troubled childhood with a transcendental attention to textures and sensations. Assisted by Alwin H. Küchler’s sensitive cinematography, the director ruminates on the fragility of life and desires against the backdrop of a garbage strike. Amidst the earthy colour palette and gloomy realism of Ramsay’s feature debut as writer and director lies a mesmerising glow that reveals a heartbreaking affection for the film’s subjects. With William Eadie and Leanne Mullen, and a powerful musical score by Rachel Portman.


Lynne Ramsay
 (2002) 97 mins M

Assuming the literary identity of a recently suicided boyfriend, “Morvern Callar” sets off from small-town Scotland to the sun and parties of southern Spain with her best friend. Lauded at Cannes for its dreamy cinematography, edgy soundtrack (Can, Broadcast, Aphex Twin, Lee Hazlewood) and career-defining performance by Samantha Morton in the title role, Ramsay’s second, much-celebrated feature film is the perfect distillation of her impressionistic cinema of unsettlement. “Pure punk existentialism” (Elvis Mitchell, The New York Times).

35mm print courtesy of the National Film and Sound Archive, Australia.


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.


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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.