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The cinema at ATP I'll Be Your Mirror in Melbourne runs on both days, with all films free of charge and handpicked by our co-curators The Drones. Please see below for a rundown of the films that will be screened...

Cinema Rules:

  • Please consider others when watching the films. If you want to talk, please talk outside.

  • The cinema exists on a first come, first served basis. If you really want to see a film, you may have to get there early. There is limited seating and we do not guarantee entry into any session.

  • ATP reserves the right to not allow you into the cinema, or to eject you from the cinema at our discretion. Please respect our staff on this matter.

  • There is no smoking in the cinema.

  • Toilets in the cinema are for cinema patrons only.

  • Please turn your phone off!


    Come And See
    (1985, Dir. Elem Klimov, 146 mins)

    Come and See is one of the greatest war films ever made and one of the finest achievements of Soviet cinema. A devastating account of the Nazi occupation of Belarus during World War II, it tells the story of a young boy s abrupt loss of innocence when he joins the Soviet resistance and is thrust headlong into the brutal horrors of combat. Featuring terrifyingly authentic battle scenes and poetic, almost surreal imagery, director Elem Klimov has fashioned a vivid and unforgettably powerful portrait of the atrocities committed by men in the name of war.

    The Italian
    (2005, Dir. Andrei Kravchuk, 98 mins)

    This critically acclaimed film features a standout performance from Kolya Spridonov in the lead role and was Russia's official entry to the 2006 Academy Awards. A childless, affluent couple from Italy comes to a provincial Russian children's home to find a child for adoption. The orphanage is a harsh place, run by two rival internal factions. Alongside the official, adult administration, run by a corrupt headmaster with the help of a greedy adoption broker 'madam', there is a shadow children's gang operating out of the institution's boiler room.

    Night Of The Hunter
    (1955, Dir. Charles Laughton, 93 mins)

    The only film to be directed by Charles Laughton, 'The Night of the Hunter' was critically panned on its release but is hugely revered now and was Robert Mitchum's personal favourite. Set in Thirties rural American South, Mitchum stars as the psychopathic preacher, Harry Powell (with LOVE and HATE tattooed on either hand), who is arrested for a minor offence in a small West Virginian town. His cell mate, Ben Harper (Peter Graves), who faces the death penalty, confides that he has hidden $10,000 from a bank robbery. When Powell is released Harper has already been hanged, so the Preacher tracks down his widow and children in an attempt to get his hands on the loot.


    Theremin: An Electronic Odyssey
    (1993, Dir. Steve M. Martin, 80 mins)

    A documentary about the amazing life of Leon Theremin, inventor of the theremin, the electronic musical instrument so beloved of 50s sci-fi movie music. Theremin amazed America with his instrument until his kidnapping by Soviet agents in the mid-30s. Upon his release from a labor camp, he worked on surveillance devices for the KGB. Almost 60 years later, he is brought back to America for a touching reunion with his friends and colleagues.

    Down By Law (1986, Dir. Jim Jarmusch, 107 mins)
    (1986, Dir. Jim Jarmusch, 107 mins)

    Jim Jarmusch's Down by Law is in the same minimalist, oddball, black-and-white groove as his classic of American independent cinema, Stranger than Paradise (1984). The setting is Louisiana, where two losers (musicians Tom Waits and John Lurie) find themselves stuck in a jail cell together. One day they are joined by a boisterous Italian (Roberto Benigni), and the chemistry changes--suddenly an escape attempt is on the horizon. Conventional drama is not Jarmusch's intention; one of the emotional high points of this film is the three guys marching around their prison cell shouting, "I scream, you scream, we all scream for ice cream!" Yet the deadpan style creates its own humorous mood, underscored by melancholy (also underscored by the music of Lurie and the gravel-voiced songs of Waits). This was the first American film for Italian comedian Benigni, (Life is Beautiful), and he lights it up with his effervescent clowning.

    The King Of Comedy
    (1983, Dir. Martin Scorsese, 109 mins)

    The King of Comedy, which flopped at the box office, is actually a gem waiting to be rediscovered. Like A Face in the Crowd (a not-so-distant cousin to this film), Network, and The Truman Show, its target is show business- specifically the burning desire to become famous or be near the famous, no matter what. Robert De Niro plays the emotionally unstable, horrendously untalented Rupert Pupkin, a wannabe Vegas-style comedian. His fantasies are egged-on by Marsha, a talk-show groupie (brilliantly played by Sandra Bernhard) who hatches a devious, sure-to-backfire plan. Jerry Lewis is terrific in the straight role as the Johnny Carson-like talk-show host Jerry Langford. De Niro's performance as the obsessive Pupkin is among his finest (which is saying a lot) and he never tries to make the character likable in any way. Because there's no hero and no-one to root for, and because at times the film insists we get a little too close and personal with Pupkin, some will be put off. Yet it's one of Scorsese's most original and fascinating films, giving viewers much to consider on the subject of celebrity.

    There Will Be Blood
    (2007, Dir. Paul Thomas Anderson, 158 mins)

    Director Paul Thomas Anderson's There Will Be Blood is a masterly, unflinching examination of a consummately evil man. Daniel Plainview (via a transcendent performance by the great Daniel Day-Lewis) is, as he likes to remind those around him, an oil man: he finds it, he drills for it, and he makes money from it. Following a tip from a visitor named Paul Sunday, whose family sits atop a veritable ocean of oil, Plainview travels to the town of New Boston, California, with his young son. Sunday's preacher brother Eli (both roles are played by the excellent Paul Dano) grudgingly accepts Plainview's ambitions under the condition that he help fund the town church. As Plainview's plans come to fruition, a series of events begin to fracture the insular world he has constructed for himself, pitting Plainview against Sunday and forcing him to become even more vindictive and ruthless. Anderson proved with Boogie Nights and Magnolia that he was adept at handling expansive storylines and layered plots; however, he stakes out a claim here as a new master of the cinematic epic.
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