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.


December 7


Harun Farocki
 (2009) 61 mins
Unclassified 15+ Unless accompanied by an adult

Focusing on the methods of brick building, as well as their unique forms, meanings and cultural applications, Farocki explores these processes as nothing less than the building blocks of a society, of societies, by comparison. Seemingly uninflected by intervention or voiceover narration, we pass through 20 intertitles in an hour to dance around a cavalcade of colour, movement and sound, each nodule sliding in with constructivist precision. “The film shows us that certain modes of production require their own duration and that differences between cultures can be shown in brick time” (Ute Holl).


Harun Farocki
 (1995–97) 89 mins
Unclassified 15+ Unless accompanied by an adult

This program of three short essayistic works demonstrates Farocki’s acute and playful facility with reworking existing images and exploring materialist film history. Workers Leaving the Factory (1995) uses the seminal Lumière Brothers film to instigate an exploration of this trope across film history (Metropolis, Modern Times, Red Desert) and its gradual disappearance as a figure of industrialised labour. Courtesy of the National Film and Sound Archive, Australia. Interface (1995) is a self-reflexive account of Farocki’s own practice as an image producer. The Expression of Hands (1997) returns to cinema history to compile a taxonomy of close-ups of hands (Pickup on South Street, North by Northwest) denoting labour, exchange, emotion and expression.


Harun Farocki
 (1997) 56 mins
Unclassified 15+ Unless accompanied by an adult

Farocki’s preoccupation with the Barthesian power of cultural-industrial detritus proceeds from a typically brilliant formal hypothesis: seeing 20th-century advertising as today’s analogue to the still life paintings of the 17th-century Flemish masters. A cheeseboard, beer glasses, a watch, are all made over as that most revered of contemplative sites: the “art object”. Typically, Farocki restricts himself to reworking material produced solely through the original means of consumption-production, emerging with a portrait of the modern world as both sci-fi simulacrum and memento mori.

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.