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

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

The Melbourne Cinémathèque is a membership-based film society based in Melbourne, Australia.

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

This year many of our screenings are on Monday nights. Please check the program for details.

Admission is by membership, which can be obtained on a short-term or yearly basis.

We are a volunteer-run, not-for-profit organisation.

Virtual Cinematheque

We know this can’t replace the joy of being in the cinema but why not join us for a weekly movie night at home?

Our Virtual Cinémathèque won’t replicate seasons slated for the 2020 Melbourne Cinémathèque but wherever possible we’ll try to stick to the weekly calendar format of double bills that showcase classic and contemporary films on specific directors, performers or a thematic.

Stay updated at the ACMI website

Virtual Cinematheque has been made possible with the generous support of:

The Australian Centre for the Moving Image

Monash University Museum of Art

The Goethe Institute of Australia

Stellar Dental, Collins St

Present Company Included

Coronavirus disease (COVID-19) Update – 16/3/2020

Today the Victorian government declared a state of emergency effective from 12:00pm, which will be enforced for at least the next 4 weeks. Under the conditions of this state of emergency, The Melbourne Cinémathèque will not be holding any screenings until further notice. In line with this, and with our venue The Capitol, RMIT University, and our presenting partner ACMI, we will be postponing all screenings throughout March and April.

Things are evolving on a daily basis and we will try to keep everyone informed about our screenings. We value our members and the community gathered around the Cinémathèque very highly – we are, after, all elected representatives of the membership – and thank you for your tremendous support so far this year. We very much look forward to the time when we will be able to return to sharing great cinema with you – once it is safe to do so. But for now, we need to help protect the health and safety of our volunteers, the staff at the venue, ourselves and, of course, all our members.

Once we become aware of a recommencement date we will arrange suitable arrangements for existing mini, year and friends Cinémathèque memberships (we will be exploring various options including extending memberships, asking members to donate the proportion of the membership elapsed to support the Cinémathèque’s, etc.). As a not-for-profit, volunteer-run organisation we rely on the support, goodwill and active involvement of our membership.

To ensure that people are informed of developments, updates will be posted onto our Facebook page and our website, as well as through this newsletter and via Twitter. Should you have any queries, please stay in touch with us.

Keep safe and all the best,

The Melbourne Cinémathèque committee.


September 30

Barbara Hammer (1982-1983) 55 mins – Unclassified 15 +

This program of two of Hammer’s most celebrated and searching films of the 1980s includes Audience (1982), a diary of audience reactions to retrospectives of Hammer’s work in San Francisco, London, Toronto and Montreal; and Bent Time (1983), a work inspired by the scientific theory that time can bend like light curving at the universe’s outer edges. Hammer uses an extreme wide-angle lens and “one frame of film per foot of physical space” to capture high-energy mystical and scientific sites across the United States.

Barbara Hammer (1998) 59 mins – Unclassified 15 +

A fascinating collage of archival photographs, home movies and interviews exploring the lesbian histories of women artists across the 20th century: Victorian photographer Alice Austen, German Dada collagist Hannah Höch, and contemporary painter Nicole Eisenman. A careful examination of the museum as “closet”, and a thoughtful lesson on the importance of creating and archiving feminist artwork.

Preceded by

Barbara Hammer (1973) 8 mins – Unclassified 15 +. A vital landmark in feminist and lesbian filmmaking documenting, amongst other things, the first Women’s International Day march in San Francisco.

Barbara Hammer (1991-2011) 69 mins – Unclassified 15 +

A trio of films that reflect on and revise concepts around death and cultural history. Vital Signs (1991) is an ethereal, experimental refraction of a danse macabre. Maya Deren’s Sink (2011) pays tribute to Deren’s foundational work, immersed in the spaces in which it was created. A Horse is Not a Metaphor (2008) is a powerful, rhythmic and meditative response to Hammer’s cancer diagnosis and chemotherapy treatment. The two later films received the Teddy Award for Best Short Film at the Berlinale.


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 Michael Koller, Adrian Danks, Eloise Ross and Cerise Howard for the Melbourne Cinémathèque

Subtitling Logistics: Lorenzo Rosa

Music Synchronisation: Michael Koller

Supported by Film Victoria, RMIT University & The City of Melbourne Arts Grants Program.


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