CINEMA REBORN 2024 - Peter Hourigan dives back into his first encounters with Jean Renoir to introduce THE GOLDEN COACH (Italy/France, 1952)

It is fitting that in this wonderful season of restorations, Renoir’s Le Carrosse d’Or should have a place. Today the film lover can have access to films from the distant past or from distant places, and in good viewing copies. When my love affair with cinema was being nurtured at Melbourne University (there were no film courses, of course) in the 1960s, you had to rely completely on films brought into the country by the commercial distributors. And on heavy 35mm reels. Rights would expire, and after a few years a film would no longer be available.

In this bleak landscape, one old film sparked a light. European critics had discovered an old Renoir film – Pre-war – La Règle du Jeu (Rules of the Game,  1939).  At its premiere this prescient film had been a failure. Almost immediately producers  had cut it down. And then it had vanished. But in the mid-50s boxes with almost all of Renoir’s original version were discovered. Here was the wonderful event of a film reborn. At a time when retrospectives were unheard of, La Règle  du jeu premiered at the Venice Film Festival.  

Jean Renoir as Octave in his La règle  du jeu 

It made its way to the Melbourne Film Festival in 1962.  An old film among a selection of the best international films of that single year.  And it sparked something in a group of undergrads, members of the Melbourne University Film Society.  God! This film is wonderful! We have to see more films by this guy. 

I was one of those people,  and over the next few years – until I finished my degree and had to go out and earn my living – I was involved in several events tracking down  any of Renoir’s films. We even went to the extremes of importing several there were not available in Australia. That was really an arduous and expensive undertaking. First, track down an overseas source willing to let a print come to Australia. Freight costs meant we were only considering 16mm copies – we could never have afforded the freight for a 35mm theatrical copy. We had to learn how to navigate the customs and censorship regulations. But we did pull together a two-week public season of ten films. We were amazed that we did it. But we were more amazed as we came to know this incredible filmmaker, who refuses to be pigeon-holed. 

   Left-wing Popular Front comedies in the thirties. Prescient social and political analysis of pre-war European society. American B-grade (in budget only) films during the second world war, when he was living in USA in exile, post-war entertainment riches like French Cancan.  

Duncan Lamont, Anna Magnani The Golden Coach

One of the jewels we came across was THE GOLDEN COACH, courtesy of a reasonable 16mm print from the French Embassy. We thrilled to its vivid colour, the magnetic power of Anna Magnani in a role so different from the harrowing neo-realist roles we’d associated her with, a fascinating structure that blended theatre and realism. 

Perhaps some of the minor roles didn’t have actors with the same ability to live in their roles as Magnani– but they were adequate and we came to love that adequacy as part of the fabric of the film. We were also entranced by the glorious music of Vivaldi. Then his music was still a novelty. The resurgence of the universal popularity it has enjoyed for the last sixty years was just beginning. In his book, My Life and My Films,  Renoir wrote, My principal collaborator on this film was the late Antonio Vivaldi.  I wrote the script while listening to records of his music, and his wit and sense of drama lad me on to the developments in the best tradition of the Italian theatre. 

 This is a film that is, first of all, to be enjoyed.  You can follow up later, writings analysing it in depth. Its balancing of realism and theatre, its total artificiality and its 100% truth. You can reminisce about favourite moments. There’s one line in the film that has stayed with me for years, and I pull it out frequently (even if only to myself) whenever I realise I’ve nodded off during a film or a piece of music.  I’ll leave it to you to recognise that moment.

 I’ll leave the last word to Renoir. In My Life and My Films, Renoir concludes with this, 

                Whether the setting is natural, or imitates Nature, or is deliberately artificial, is of little importance.  I used external truth in so-called ‘realistic’ films like La Chienne and La Bete Humaine, and apparently total artificiality in films like [The Little Matchgirl] and  Le Carrosse d’Or.  I have spent my life experiments with different styles, but it all comes down to this: my different attempts to arrive at the inward truth, which for me is the only one that matters. 

When I was preparing these notes for today’s introduction, I discovered a note on the film that I’d written for MUFS magazine, Annotations on Film for Term 3 1965.  And I guess I was also surprised to see how well I caught the film back then.  

AT CINEMA REBORN - A Filmic Postcard -Janice Tong responds to a fresh viewing of LE SAMOURAÏ (Jean-Pierre Melville, France, 1967)

Poetics of an empty branch: Melville’s Le Samouraï

 

The superb 3 minute opening sequence is a masterclass of film-making

An empty interior in semi-darkness, two large rectangular windows with its curtains drawn wide cast an eerie pre-dawn light into the room, its ghostliness reflected on the ceiling; in between the two windows in the drab light, is a birdcage, we can hear the bell-like chirp of a bird. Oh, but the room is actually not empty at all; we detect a brief movement from the lone figure who is lying on the bed on the right hand side of the screen. They proceed to light a cigarette and a cloud of smoke rises from where they lay. The small bird keeps up its lonely singular cry; the traffic outside continues to pass.

 

We have arrived: at a world where life and death is thinly disguised as a choice on the edge of a blade; and death, as well as life, can only be experienced in solitude.

 

the enigmatic stoicism of Delon's Jef Costello

This poetic neo-noir lures us into its milieu without the need of dialogue; like the end sequence of Wong Kar-wai’s Days of Being Wild (1990), we find ourselves deeply invested in the life of this lone figure within the first few minutes of the film’s opening. His silence continues as we watch him get up, put on a raincoat and fedora with a practised motion that is cat-like, balletic. He then goes out into the street and steals a car, drives it to a grimy garage in an isolated part of town; number plates changed, a gun and money exchange hands – all without its characters uttering a word. 

 

There is an ontological fatalism at the core of this film that saturates Alain Delon’s character, Jef Costello – indifference oozes out of him. He is a magnificent animal who hunts as absolutely as he loves – magnetic and rare. So rare that, in fact, he may be a lone specimen in this jungle of crime. Paired with Melville’s eye, the lithe rhythm of the film and its monochromatic palette, seems to indicate that Costello’s world was already exsanguinated at birth. Although we will soon find out that not all his exchanges are bloodless affairs. 

 

Jean-Pierre Melville, dubbed as the spiritual godfather of the French New Wave – you can see him in Godard’s Breathless (1960), where he has a cameo as a renowned author. In Godard’s film, he was asked the question “What is your ambition in life?” Where he answers: “I want to be immortal and then die.” It seems Melville has lived up to his fictitious dream – his films have immortalised him – and over the years, he has a developed a huge following especially from latter day directors, the likes of Tarantino, Scorsese, Bertolucci, Frankenheimer, as well as Johnnie To, and Takeshi Kitano; well-loved by film students and cinephiles alike. His films have the ability to indoctrinate any filmgoer with a sense of the charismatic, through his stylised cinematic universe. And this film, Le samouraï, made when the director was 50 years old and only 5 years before his untimely death in 1973, is one of his best. 

Melville as Parvulesco in Godard's Breathless

One man lineup

 

Born Jean-Pierre Grumbach, he had a penchant for all things American and kept his pseudonym of Melville, (after his beloved American writer Herman Melville) coined during the resistance. His noir and neo-noir films are stylistically sparse; in fact, Melville’s “dream is to make a colour film in black and white, in which there is only one tiny detail to remind us that we really are watching a film in colour.” So much so that he photocopied bank notes in black and white for Delon to use in the film; and his longtime collaborator, cinematographer Henri Decaë refused to even give a hint of colour detail in the opening scene.

 

In the book Melville on Melville by Rui Nogueira, the director described the fateful moment when he was at Delon’s apartment reading the script out loud to the actor. This was their exchange: “You’ve been reading the script for seven and a half minutes now and there hasn’t been a word of dialogue. That’s good enough for me. I’ll do the film. What’s the title?” “Le samouraï,” I told him. Without a word, he signed to me to follow him. He led me to his bedroom: all it contained was a leather couch and a samurai’s lance, sword, and dagger.” It seems that the Gods had deemed this role to be made for Delon. And so began their partnership that led to two other films, Le cercle rouge (1970) and Un flic (1972); the former, just like Le samouraï, has little to no dialogue; preferring the kind of laconic existentialism of Hitchcockian’s pure cinema – to stage a scene visually without dialogue.

 

Despite the stars aligning that evening, the pair had a stuttering start to their relationship, After the success of Le doulos (1962), Melville had wanted to adapt another Pierre Lesou novel with Delon as the lead. But Delon turned down this offer in order to pursue other international and US roles instead. It wasn’t until years later until Delon reconnected with Melville and asked for a chance to work together. At that time, the rights to Lesou’s novel, Main pleine was no longer available (it had already been adapted into a film two years previous), so instead, Melville decided to pitch something different to him: said to be a script he had written for Delon that combines a remake of the American noir film This Gun for Hire (1942) and Joan MacLeod’s novel The Ronin. Of course, the latter book never actually existed. You see, Melville has a fondness for inventing fictive novels and quotes. Famously, the epigraph at the start of Le samouraï: “There is no solitude greater than a samurai's. Unless perhaps it is that of a tiger in the jungle. – The Book of Bushido". Sure enough Bushido, or the way of the warrior exists as a text, but the quote is entirely fictional, made up by Melville. Similarly, the quote attributed to Siddhartha Gautama, the Buddha, at the start of Le cercle rouge was another of his inventions.

 

Nathalie Delon as Jane Lagrange

Fiction aside, moments of the ‘real’ surfaced during the making of this film. Melville cast Delon’s wife, Nathalie, for his lover and standing alibi, Jane Lagrange, because he thought they looked like brother and sister (and this is especially true. My husband actually commented on how symmetrical her features were and upon seeing her surname ‘Delon’ in the credits, immediately drew the conclusion that they were siblings). In the scene where they bid each other goodbye, Costello kisses her hair with his eyes closed; a wordless gesture that ended his relationship with his lover – that same evening, Melville came to learn that Alain and Nathalie have actually agreed to separate; so the intensity captured on camera was in fact, their intimate parting of ways. Another haunting farewell was by André Garet, a previous collaborator with Melville in Bob le flambeur (1956), he was the garage mechanic. Garet was incredibly ill at the time, and only took the role to please Melville. He ended his last scene with the words “I warn you Jef, it’s the last time.” It really was his last time – as Garet only had time to dub this voice over before he went into the hospital to die. And Delon’s reply “All right”, dubbed after he learnt of Garet’s passing, was also spoken like a farewell to Garet.

 

Even with the great reception of the film, with 1.9 million tickets sold in France; Le samouraï has had a troubled existence. During the shoot, Melville’s Studio Jenner, a studio he had built himself in the 13th arrondissement, burnt down to the ground on the 29th June 1967. This incident destroyed all of Melville’s archives and also killed the little bird – a female bullfinch – the sole companion of the assassin, that was also the symbol of his solitude and confinement. Melville’s untimely death and the confusion over who owns the rights to his films, meant that Le samouraï, completed in 1967, was only able to get a release, in a badly edited and dubbed-to-English version in the United States in 1972; ridiculously renamed The Godson, in order to ride on the success of Coppola’s The Godfather (1972)

 

Cathy Rosier

The ending (spoiler alert), for me, carries a certain existential stoicism of the samurai. (And yes, two endings were shot – a ‘smiling’ Jef, and the one that was kept in the film). For a samurai, suicide means a chance to be redeemed, preferring the choice of an honourable death rather than bring shame to his clan or family if captured by the enemy. Here, Costello chooses to give up one’s own life for another’s. His seppuku takes the form of a bullet to the heart; and this sacrifice was made for the nightclub singer, Valérie (Latin root for valiant) (Cathy Rosier) who did not give him up at the lineup; which in turn, makes her a target if Costello continues to escape capture by men who hired him, or by the police. For him to choose death over life perhaps also means that finally, he is able to escape solitude and the confines of his existence. 

 

Le samouraï  is currently screening as part of the Cinema Reborn 2024 program. There is one more screening in Melbourne of  the film before it leaves these shores for possibly quite a long time.  The newly restored 4K version is at the Lido Cinemas In Melbourne on 14th May 2024 at 6.00 pm. Go and get a ticket – you will be in for a treat! Click on the link to book.

CINEMA REBORN UPDATE - MIDNIGHT, PLAN YOUR PROGRAM, WHO'S DOING THE INTRODUCTIONS

John Barrymore, Claudette Colbert, MIDNIGHT

People are still talking about the magnificent occasion in Ritz Cinema One watching Mitchell Leisen’s Midnight after hearing another of CJ Johnson’s  rousing introductions. That intro had the assembled audience spinning… 

Expat David Hare who has timed a visit to Australia to coincide with this year's Cinema Reborn season posted this on Facebook yesterday and it has to be shared.  "A huge tick for last night's opening screening for Cinema Reborn in Sydney of MIDNIGHT.

"After all these years since a slim DVD release in 2008 it's been a long wait for a more substantial premium release. The new 4K DCP which has been derived from original nitrate elements including the OCN is astonishingly beautiful. The deep blacks shine and glimmer and film grain abounds lusciously. Even the actors' wardrobe has never looked so tailored and literally tactile. The image quality is absolutely peak level Universal restoration team. Needless to say, watching this masterpiece with a near full-house was an additional pleasure after so many decades of personal viewing. The picture still remains my top film of 1939. So flawless is the cast, Wilder and Brackett's screenplay, Charles Lang's sumptuous B&W photography and Leisen's effortless control of tone. This and Remember the Night are the director's untouchable masterpieces

"Bravo Cinema Reborn 2024"

There is one more screening in Sydney Book here for  the Ritz on Monday 5 May at 10.30 am 

Biggest thanks of course to Universal Pictures who put in the hard yards and the money to restore this screwball comedy gem from 1939.

 

Brooke Adams, DAYS OF HEAVEN

Meanwhile there is a massive weekend of premieres and special occasions coming up. The Saturday night screenings of Le Samourai  and Days of Heaven  are selling fast  but there are plenty of tickets for the repeat screenings on Monday and Tuesday evening, both of which will be on the big screen of the Ritz’ Cinema One.

 

If you want to see the lineup and plan your Friday to Sunday viewing we’ve put up a page on the Cinema Reborn website which sets out the program day by day and hour by hour. A click on each film takes you through to the comprehensive program notes and links to bookings.

 

Finally we have to mention that today and over the weekend each of the films will have an introduction to set the scene. Here’s who will be doing the honours.

 

Philip Brophy will introduce JOURNEY TO THE END OF NIGHT

Helen Grace will introduce LA CAPTIVE

Jane Mills and Philip Brophy will introduce Philip’s classic shocker BODY MELT

Shivendra Singh Dungarpur will introduce via video ISHANOU

Russell Edwards and Professor Kim Hong Joon by video will introduce SOPYONJE

Noa Steimatsky will introduce IL GRIDO       

Lynden Barber will introduce DAYS OF HEAVEN

Bruce Beresford will introduce LE SAMOURAI

Bruce Koussaba will introduce YEELEN

Lucia Sorbera will introduce THE DUPES

Kathryn Millard will introduce LIGHT YEARS and do a follow on Q&A with Sandy Edwards

John McDonald will introduce I KNOW WHERE I’M GOING!

Margot Nash will introduce THE GOLDEN COACH

 

We hope you’ll find something to like amongst this year’s collection of restored classics.

Next week it's Melbourne's turn at the Hawthorn Lido. More details to follow...

CINEMA REBORN UPDATE - SESSIONS ON THE BIGGEST SCREEN - AUSTRALIAN CLASSICS

ON THE BIG SCREEN AT THE RITZ

 

Most of Cinema Reborn’s screenings will take place in the Ritz’s Cinema 5. It has over 200 seats and includes a stalls and a balcony section. It offers excellent viewing.

 

However, three sessions of our 2024 season will be screened in the Ritz’s pride of place the 700 seat Cinema 1 with its huge screen and excellent sightlines both upstairs in the balcony section and downstairs in the stalls.

 

The three sessions in Cinema 1 are:

 

MIDNIGHT 7.00 PM ON WEDNESDAY 1 MAY.

 

Our opening program (regular ticket prices) is the World Premiere of Mitchell Leisen’s classic 1939 screwball comedy starring Claudette Colbert, John Barrymore and Don Ameche. “One of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season” wrote Frank Nugent in the New York Times way back in 1939. To that you can add David Thomson just a year or so ago who said “yes it’s a great script (by Billy Wilder and Charles Brackett) but it’s a great script rendered with terrific feeling and panache (by Mitchell Leisen). 

 

Bookings for this session at this link

 

DAYS OF HEAVEN 8.15 PM ON MONDAY 6 MAY

 

Terrence Malick’s 1978 story of migrant workers fleeing west in 1915 has been called by Michel Ciment of Positif  ‘one of the most original, complex films in the contemporary cinema”.  Those who have seen the 4K restoration are still marvelling at the extraordinary qualities of Nestor Almendros’s Oscar-winning golden hour photography.

 

Bookings for this session at this link

 

LE SAMOURAI 8.15 PM ON TUESDAY 7 MAY

 

John Woo is one of many directors in awe of this film. He called it “the closest to a perfect movie I have ever seen.”  It has taken Cinema Reborn several years of asking before we finally got the rights to screen the superb 4K restoration. Seeing it on the biggest screen possible will be a fitting finale to our 2024 season.

 

Bookings for this session at this link

 

A FINAL SHOUT OUT FOR OUR AUSTRALIAN CINEMA SELECTION FOR 2024.

 

All told we are screening four Australian programs – two classic documentaries LIGHT YEARS from 1991, Kathryn Millard’s superb portrait of the great photographer Olive Cotton (above), a session which will include a post-film conversation and Q&A with Kathryn and eminent photographer Sandy Edwards at the session at 2.30 pm on Sunday 5 May. The second doco is Peter Tammer’s JOURNEY TO THE END OF NIGHT, from 1982 described by Phillip Adams as “vivid as any chronicle of war you will ever see”.  Melbourne film-maker Philip Brophy will be introducing the film at 4.45 pm on Friday 3 May.

 

Then we have two rather divergent titles from the national film heritage. First up is the World Premiere of the restoration of THREE TO GO a remarkable portmanteau from 1971 of three short films by then young directors Peter Weir, Oliver Howes and Brian Hannant. Also screening is an early short by Peter Weir 3 DIRECTIONS IN AUSTRALIAN POP MUSIC. Both films have been preserved by the National Archives of Australia. Richard Brennan who worked as Production Manager on THREE TO GO will do the introduction

 

Finally there is the cult classic and maybe the most overlooked Australian movie of the 90s BODY MELT, Quentin Tarantino’s favourite Oz movie of the time. BODY MELT is having its first screening in Sydney in over 30 years, in our first Friday Night Fright slot. Director Philip Brophy is coming up from Melbourne especially for the screening and will introduce the film along with scholar, critic and cinephile Jane Mills.

 

Click on the film titles to go through to the Ritz booking page or just roll up at the door.

 

AND IN THE MEANTIME

The Cinema Reborn 2024 page on the website of the Australian Cultural Fund enables our supporters to make a tax-deductible donation. All donations great and small are very welcome. The Australian Cultural Fund page can be found If You Click Here

CINEMA REBORN 2024 - UPDATE - THE GOLDEN COACH, ISHANOU, BODY MELT

The stills above are from one of our 2024 crowd pleasers, the wonderful THE GOLDEN COACH from 1952  starring the fabulous Anna Magnani. See it at the Ritz on Sunday 5 May introduced by film-maker Margot Nash or at the Lido on Sunday 12 May introduced by cinephile Peter Hourigan. Peter's passion for the films of Jean Renoir dates back to his undergraduate days in the 1960s when, for the Melbourne University Film Society (MUFS), he curated an early and pioneering imported season of Renoir’s films, some for their Australian premieres. His love affair with The Golden Coach has survived the years since. 

....In the meantime it's just a week and a day until Cinema Reborn 2024 gets going in Sydney and a week after that in Melbourne.  All of our media is in place and you can read extensive notes on all of the films in the program if you click on the Cinema Reborn website.

If you would like to have your own document with the program notes from the website plus some special additional notes on a range of our films you can do so by browsing or downloading the Cinema Reborn catalogue.

We have printed a small number of copies of the catalogue and these will be on sale at the Cinema Reborn Information Desk in the foyer at the Ritz ($5, cash only) and at the box office at the Lido in Melbourne (credit card only).

ISHANOU/THE CHOSEN ONE

Our first ever film from India (stills above) was made by Aribam Syam Sharma in the far northwest state of Manipur, a long way from the major production centre of Mumbai. Several years ago the process of restoring the film was begun by Shivendra Singh Dungarpur and his colleagues at the Film Heritage Foundation in Mumbai. The restoration took two years but in 2023 the film was brought back when it was selected for Cannes Classics and then went on to screen at Bologna's Il Cinema Ritrovato and MoMA in New York's To Save and Project.

Ishanou will have a single screening in both Sydney and Melbourne and Shivendra has recorded his own introduction to the film. It provides some fascinating insights into the film's subject as well as history of the restoration itself, a true labour of love.

We have posted Shivendra's introduction on YouTube and you can see it if you click here

ISHANOU screens at 10.30 am on Saturday 4 May at the Ritz and at 10.30 am on Saturday 11 May at the Lido. Just click on the theatre name to book tickets.

BODY MELT

Cinema Reborn's first ever late night shock horror experience has a host of fans including Quentin Tarantino who said " I thought the movie was fantastic. I invited a whole bunch of friends over to watch it, and we were like 'Wow, this movie is so cool'"

Then there is film critic par excellence Adrian Martin who has written the program notes for us.  Here's some of Adrian's sober reflection: Brophy is among those practitioners of the film fantastique – like George Romero, Kathryn Bigelow or Larry Cohen – fond of a certain form of allegory that is specific to popular art. Narrative situations provide a prism whereby a series of variations on a central premise are illustrated, demonstrated, explored, contradicted, synthesised. In the popular-allegorical mode, characters are conceived of as variable bundles of traits, tics and appearances that are exemplary in  relation to the chosen field of inquiry. In Brophy’s work, pop-allegory meets the speculative ruminations of the essay-film. 

His key subject has long been the body and our experience of it: life seized as a calculus of bodily effects, stimuli, drives, mechanisms. Horror cinema offers an expressionist statement of what is, for him, a base, physical reality: bodies that devour and decay, consume and expel, peel and ravage. The dialogue reminds us (in its pop-allegorical mode) of such daily realities: a baby inside its mother is ‘the ultimate parasite’; everyone’s hooked on one drug or another. 

Maybe it's a movie to tell your kids about if you want to introduce them to the vast pleasures of Cinema Reborn 2024.  Plenty of seats  free for Friday night walkups at the Ritz  at 9.00 pm on 3 May and the Lido at 9.00 pm on 10 May.

AND IN THE MEANTIME

The Cinema Reborn 2024 page on the website of the Australian Cultural Fund enables our supporters to make a tax-deductible donation. All donations great and small are very welcome. The Australian Cultural Fund page can be found If You Click Here

CINEMA REBORN UPDATE - FULL PROGRAM NOTES ON THE WEBSITE, HONI SOIT REVIEWS

Things are falling into place as the digital files of our films start to arrive in Australia. It’s a complex business of delivery, with a huge amount of protection against piracy needing to be employed by both our suppliers and the cinemas we screen in. We’re fortunate that the terrific people at Jorr in Port Melbourne and the staff at the Ritz and Lido Cinemas give our stuff a great deal of attention. 

 

FULL PROGRAM NOTES POSTED ON OUR WEBSITE

Meanwhile we can report that our website has now got all the information you need to seriously consider all of the 2024 program. Long notes by John Baxter, Digby Houghton, Adrian Martin, Bruce Hodsdon, Janice Tong, Anjali Monteiro & K.P. Jayasankar, Darcy Paquet, David James, Russell Edwards, Quentin Turnour, Jane Mills, Anne Rutherford, Helen Goritsas, Rod Bishop,Tony Rayns, Lucia Sorbera, Eloise Ross and Adrian Danks have now been published and await eager readers. You can find them at https://cinemareborn.com.au/ when you click though to the 2024 program and then open up the page for each film.

 

HONI SOIT REVIEWS

Meanwhile we’ve been delighted to cooperate with the University of Sydney newspaper Honi Soit to allow a whole bunch enthusiastic young cinephiles to write some quite formidable reviews of some of the films in the 2024 program. So far these below have been published and we understand there are more to come. Very good reading.

 

Hilary Sutanto on ISHANOU

Madison Burland on LA CAPTIVE

Charlie Vlies Lawrence on LIGHT YEARS

Iris Brown on THE DUPES

Leanne Rook on MIDNIGHT

 

BOOKINGS AND SESSION TIMES

Advance bookings are open for the entire program at both the Ritz and Lido websites. Cinema Reborn charges regular cinema admission prices including for our Opening, Closing and Saturday Night Special sessions. The usual concessions are available via the theatre club membership which you can access via their websites and join online.

 

CHARITABLE DONATIONS

And as always… The Cinema Reborn 2024 page on the website of the Australian Cultural Fund enables our supporters to make a tax-deductible donation. All donations great and small are very welcome. The Australian Cultural Fund page can be found If You Click Here

CINEMA REBORN 2024 - THE POSTER COLLECTION

 CLICK ON ANY IMAGE TO START A SLIDE SHOW!!!