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 31

John Farrow (1950) 82 mins
Unclassified 15+ (unless accompanied by an adult)

Mitchum gets a chance to play against type as a stable citizen-doctor in this lurid RKO noir. Australian director “Farrow nicely hits the nightmarish, hallucinatory qualities” as a concussed Mitchum and the obligatory femme fatale, played by Faith Domergue, “barrel down the dirt roads of southern California [amid] some of the bleakest scenery America has to offer” (Dave Kehr). Veteran screenwriter Charles Bennett, known for his work with Hitchcock and Jacques Tourneur, inflects the requisite darkness with an absurdist screwball edge. With Claude Rains and Maureen O’Sullivan.

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

CTEQ Annotation:
The Philosophy of Mitchum: Fatal Poet in Where Danger Lives by Joanna Elena Batsakis.


Vincente Minnelli (1960) 150 mins PG

Mitchum stars as a wealthy, domineering landowner who shows little respect for his wife (Eleanor Parker) or anyone else in this searing deconstruction of oppressive patriarchy in mid-20th century America. Shot largely on location in Mississippi and Texas, this portrait of the South is both authentic and literary in its aspirations, capturing wide natural vistas and claustrophobic interiors steeped in a lonely domesticity. As a bold and troubling study of masculinity, and a “cauldron of crucial, furious, and unresolved passions” (Richard Brody), this is a key work in both Mitchum and Minnelli’s careers. With George Peppard, George Hamilton and Everett Sloane.

35mm print courtesy of The British Film Institute.

CTEQ Annotation:
“Take Me As I Am”: Robert Mitchum’s Contradictory Masculinity in Home from the Hill by Joanna Di Mattia



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.


For all the latest news including program changes follow us via Twitter & Facebook.


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.