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.
6.30pm – THE LONG DAY CLOSES
Terence Davies (1992) 83 mins PG
Davies’ autobiographical and pungently poetic follow-up to Distant Voices, Still Lives is an evocative memory palace of images, sounds, music, and snippets of dialogue from Ealing and Hollywood movies and BBC radio broadcasts. A highly impressionistic vision of the closed but receptive world of a shy young boy caught between the picture palace and home, childhood and adolescence, primary and secondary school, the starry world of America and the dank streets and buildings of postwar urban Britain, this is Davies’ most consciously lyrical and nostalgic work.
To be introduced by Joanna Di Mattia, winner of the 2017 Senses of Cinema-Monash Essay Prize for her Great Directors profile on Terence Davies.
Intimate Interiors: The Long Day Closes by Joanna Di Mattia.
8:25pm – THE NEON BIBLE
Terence Davies (1995) 91 mins M
A significant break from his preceding ruminations on his own formative past, Davies applied his highly personal technique to adapting a short novel written by John Kennedy Toole at the age of 16. Davies’ unusually linear script retells a coming-of-age story in the Deep South that sits in marked contrast to his more familiar northern England locales. Nonetheless, Davies manages to graft the Southern Gothic seamlessly onto his lyrical long takes and outsider’s sensibility. Gena Rowlands, as the washed-up but indefatigable torch singer aunt, cements her “actor’s actor” reputation with a multi-layered and audacious performance.
CTEQ ANNOTATION: Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible by Adrian Danks.
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 with the Australian Centre for the Moving Image.
Curated by the Melbourne Cinémathèque.
Curatorial Committee: Michael Koller, Adrian Danks, Eloise Ross and Cerise Howard, with Associate Curator Michelle Carey
Supported by Film Victoria, RMIT University & The City of Melbourne