The magic of Australia's cinematheques and their rising popularity is a story worth telling. Imagine a world where movies are not just entertainment, but an art form to be cherished and preserved. That's the vision behind these unique institutions, and it's captivating audiences in ways that go beyond the typical cinema experience.
For a quarter of a century, the romantic masterpiece 'In the Mood for Love' has been a cinematic beacon, and its recent screening at Brisbane's Gallery of Modern Art (GOMA) was a testament to its enduring appeal. The film's impact transcended age barriers, attracting not just classic cinephiles but also intergenerational families, a heartwarming sight for Amanda Slack-Smith, the curatorial manager of Australian Cinémathèque.
But here's where it gets controversial... Cinematheques, pioneered in Paris in the 1930s, are more than just movie theaters. They are guardians of celluloid archives, celebrating cinema as an art form and providing a vital record of the world. In Australia, these institutions have found a unique home within galleries and museums, offering an alternative to the Hollywood franchise and the endless scroll of streaming platforms.
And this is the part most people miss... These cinematheques are not just about preserving the past; they're about discovery. Slack-Smith believes they provide avenues for audiences to explore and appreciate cinema in a whole new light. It's about translating the scholarly into something accessible and exciting, like an Indiana Jones adventure.
Commercial theaters, with their year-round retrospective programming, can't quite fill this role. The film industry, as reported by Gower Street Analytics, is still struggling to match pre-Covid figures, emphasizing the importance of cinematheques in facilitating conversations and providing context for cinematic material.
When Australian Cinémathèque programmed 'In the Mood for Love', it was part of a larger ode to Hong Kong star Maggie Cheung, showcasing the depth and breadth of cinematic talent. This approach, along with other notable seasons featuring the likes of Ryusuke Hamaguchi and Charles Burnett, has attracted a new generation of cinephiles.
Sydney Cinémathèque, set to open its doors in March, aims to build on this momentum, rebranding and expanding the screening program of the Art Gallery of New South Wales (AGNSW). Film curator Ruby Arrowsmith-Todd highlights the gallery's increasingly diverse and younger audience post-Covid as a key factor in this evolution.
In Melbourne, Grace Boschetti embodies this next-gen audience, having fallen in love with Melbourne Cinémathèque after watching Michelangelo Antonioni's 'L'Eclisse' during her university days. Her transformation from a predominantly new-release viewer to a regular at repertory screenings is a testament to the power of these institutions.
Australia's cinematheques offer an antidote to the false abundance of streaming platforms, which often favor recent and English-language titles. For Boschetti and many others, the cinema experience is irreplaceable. Arrowsmith-Todd attributes this rising interest among young people to platforms like Letterboxd, which have created a new generation of cinephiles eager to explore the so-called classics and venture beyond the typical canon.
Sydney Cinémathèque also presents an opportunity for emerging film professionals, offering training in analogue projection, ensuring the gallery can screen the full spectrum of film history. This attention to detail, including the format of the movies, is another way cinematheques differentiate themselves.
'In the Mood for Love', screened at Goma in its original 35mm cut, is a perfect example of this. The audience's appreciation for the original film, as opposed to recuts and recolourisations, demonstrates their understanding and love for the art form.
The success of Australia's cinematheques lies in their ability to spark curiosity and foster a deeper understanding of film. As Boschetti puts it, 'There's a particular magic about these films that I don't get from new releases. It's a rare experience to be amazed by a new film in the same way.'
So, what do you think? Are cinematheques the future of cinema appreciation, or do you prefer the convenience of streaming? Let's discuss in the comments!
