A WEEKLY FILM NEWSLETTER PROMOTING ARTHOUSE, REPERTORY, ART, SHORT FORM AND EXPERIMENTAL CINEMA SCREENING IN THE CITY OF MELBOURNE

9 November 2023

Melbourne Queer Film Festival Special

Screening in cinemas around Melbourne from Nov 9-19.

In honour of the 33rd edition of the Melbourne Queer Film Festival (MQFF), Kinotopia co-founders Digby and Andrew cover two of the many films screening at this year’s festival. With one of the MQFF’s most diverse and versatile programs, the 2023 edition offers a range of films spanning festivals big and small, repertory screenings and radical independent cinema from both home and abroad. Be sure to also check out the short films on offer including one directed by KT’s very own Jasper Caverly. We strongly encourage you to check out the program here.

In the Meantime

Nicholas Anthony, 2023

Screening at Cinema Nova on Tuesday 14 November as part of the 33rd Edition of the Melbourne Queer Film Festival. The screening is currently on standby.

Words by Digby Houghton

The rise of women diagnosed with borderline personality disorder (BPD) has bred claims that it has replaced what Freud termed ‘hysteria’ at the turn of the 20th century. BPD can also be seen as a defining trope of characters in indie films, themselves inspired by offbeat female characters in French New Wave films. In today’s climate these characters are now surviving under the crippling world of neoliberalism, which threatens their chic lifestyle as writers, filmmakers and dancers due to the hyper-commercialisation of culture.

The French New Wave is critical to Nicholas Anthony’s queer rom-com In the Meantime which follows Maxine “Max” (Bronte Charlotte) and her best friend Emma (Domenica Garrett) as they navigate the pressures of being artists. The two best friends live together but express their creativity in different ways: Max is a writer and Emma is a painter. For Max, the day to day grind of writing seems to create a perpetual mental block and painting for Emma equates to semi-abstract experimentations in form and tone. From the first shot the homage to the French New Wave is pronounced in a grainy celluloid-looking filter which captures Melbourne like a shot taken from Jean-Luc Godard’s film Breathless.

The film unfolds over the four seasons, specified throughout the film in intertitles. This signifies that the film borrows its realism from a romantic pioneer of the French New Wave like Éric Rohmer (whose tetralogy Tale of the Four Seasons is clearly an influence). However, the film’s strong homage to the past can’t escape the limitations of its clear budget constraints and tight shooting schedule.

Max struggles with the external world and she lives too deep inside her head sometimes. This is evoked through her confrontations with former pupils from school, baristas and the tyranny of the patriarchy represented in almost all the male characters in the film. Her only office job is promised to involve picking up parcels and distributing memes. Despite the professed simplicity of her job Max is treated like an object regardless.

Max’s attempts to  find fulfillment are constantly undermined by the challenges of being a writer. Her pitches for articles and fellowships are constantly rejected, and she projects this self-perceived failure onto those around her. This isolation and self-doubt are common amongst indie cinema’s mumblecore heroes, like the crippling challenges faced by Noah Bambauch’s eponymous Frances Ha (Greta Gerwig).

Emma is constantly challenging Max to overcome her fears and doubts about the way she perceives herself. This makes her role as a friend integral to the struggle that Max has to overcome - namely her self-doubt and self-confidence. Emma is the polar opposite of Max and lives a fruitful social life, regularly inviting Max to join in. The two characters regularly bicker and joke, making the moments where they are together enlightening.

Max’s witty dialogue with Emma rumbles along during the film in iconic Melbourne locations like the NGV and Yah-Yah’s in Collingwood. At one stage Emma asks Max who she would want to spend an indefinite amount of time in an elevator with. Her response, surprisingly, is Hitler because she believes she could talk him out of the war. This blend of comedy and idealism is what holds Anthony’s film together although sometimes it falls into cliché. It’s difficult to discern between the cynicism of Max’s insecurities and the idealist cliches. This is demonstrated in the art parties Max and Emma attend where everybody speaks about collaborating together in pretentious tones.

In the Meantime is a heavily Melbourne-centric film focused on queer identities who are disparate and lost but trying to remain stable amongst the troubles they face. The guerrilla style filmmaking including shaky tracking shots become tedious but its distinct portrayal of Melbourne is rewarding.

Offside

Jafar Panahi, 2006

Screening at the Capitol on Sunday 19 November as part of the Melbourne Queer Film Festival.

Words by Andrew Tabacco

Screening in the second weekend of this year’s edition of the MQFF is the celebrated and recently emancipated Iranian director Jafar Panahi’s 2006 sports film, Offside. Like all of Panahi’s films to that point in his career, Offside shines a spotlight on women’s place in Iranian society. Inspired by an incident involving his own daughter not being allowed into a soccer match due to her gender, although his daughter was eventually able to sneak into the stadium (the same one as shown in the film), the nonsensical ordeal offered Panahi’s his next social critique. Set during a real match between Iran and Bahrain during the 2006 World Cup qualifiers, the aptly titled Offside follows a group of Iranian women who try to sneak into the Iranian capital Tehran’s ‘men only’ Azadi Stadium dressed as male fans. Unfortunately, the film’s protagonists suffer a different fate to Panahi’s daughter, resulting in a disparate group of cross-dressing women being caught trying to sneak in.

A typically controversial film for the enfant terrible of Iranian cinema, Panahi had to revert to his usual trickery to get his latest cultural critique made against Iran’s stringent censorship rules. Knowing that the film’s central theme would enrage the State, and given that many of his previous films had been banned from screening in Iran, Panahi wisely submitted a fake script that centred around a group of male soccer fans. He also attached a different director to the project (concealing his own role in the film) when applying for filming permission. Shooting much of the film on the day of the match, Panahi was successfully able to complete the film before government intervention.

Like all of Panahi’s films, the distinction between fact and fiction quickly begins to blur in Offside. Featuring mainly non-actors and literally set against the noisy backdrop of the stadium, with the actors and regular fans entwined in the noise and chaos of the match, the film often resembles more of a documentary than a drama. Panahi links the film and the match, leveraging the packed crowd’s feverish reactions to constantly remind the audience what the women are being deprived of. In a piece for ACMI, Adrian Danks alludes to the use of ‘cinematic temporality’ in the film, outlining that the ongoing match makes the audience hyper aware of the passage of time whilst simultaneously adding a heightened sense of naturalism to the characters’ reactions. With the crowd roaring as the team struggles to get the goal that will book Iran a spot at the World Cup, one by one different women who are caught trying to sneak-in are brought to a makeshift holding cell literally right outside the stadium. Despite being caught and facing probable punishment, the soccer mad girls are far more concerned with the score than their own predicament.

As more women are brought to the holding area we learn that some are seemingly more seasoned pitch invaders than others. Already taking a risk not wearing their chadors in public, the disguises range from backward caps and flannel shirts (they were the first to be busted) to a realistic soldier's uniform (the only women who successfully snuck in undetected before being caught sitting in an official’s seat). The women are seemingly more interested in watching the game than escaping but still prove to be a handful for their soldier guards, many of whom have been conscripted from Iran’s ultra conservative rural areas. The difference between the rural guards and their savvy Tehran dwelling counterparts is exemplified when one of the girls needs to use the bathroom. With no female facilities available at the stadium, what ensues is a Sellers-esque scene involving a bumbling soldier covertly sneaking the woman into the men’s bathroom, resulting in commotion when a group of men turn up to use the toilets.

It is in the conversations between the girls and the guards that Panahi is able to beautifully explore the humanity between the people living under the regime. It is apparent that despite their best intentions, the guards have little issue with the women watching the game, with many cheerfully interacting with their ‘prisoners’. Conversely, when one of the women does escape, she is compelled to return to her captors because she feared how the soldiers would be punished by their ruthless ‘chief’. Seemingly everyone involved in this farcical scenario would rather be watching the game or doing something else entirely, and when the final whistle blows and pandemonium erupts throughout the city, the State implemented power dynamic is momentarily forgotten.

Panahi once said that he hoped that in “ten or twenty years’ time when people watch Offside they can look at it as a documentary of a moment in Iran when we didn’t have the rights and freedoms they now enjoy.” In 2019, this became a brief reality when women were allowed into a World Cup qualifier following international pressure from the global soccer community after the death of soccer fan Sahar Khodayari, who set herself on fire in fear of being jailed after trying to attend a match disguised as a man. However, as of 2023, despite the ‘Mahsa Amini Protests’ in 2022, the largest series of protests since the Islamic Revolution in 1979, women still face oppressive conditions in Iran and remain barred from the Azadi Stadium.

Adding another dimension to the film for some of the Australian viewers will be the recent memory of The Matildas’ run in the Women’s World Cup in August. The difference between the sold-out stadiums and general pandemonium for the Matilda’s and the events of Offside are stark, but the bravery, ingenuity and heart shown by the women in Offside also offers and sense of hope and inspiration for the future.

At first glance a curious inclusion to the festival’s program given the lack of allusions to sexuality, I suspect that once the credits roll at the Capitol, viewers will greatly appreciate and understand its inclusion.

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WEEKLY FILM LISTINGS

November 9 - November 15

ACMI

Living

Oliver Hermanus, 2023

Matinee screenings from Fri-Sun

ARTIST FILM WORKSHOP

No screening this week

ASTOR CINEMA

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening daily from Fri - Tues

Fanny and Alexander

Ingmar Berman, 1982

Screening Sat 11 Nov

Bromley: Light After Dark (Q&A)

Sean McDonald, 2023

Screening Wed 15 Nov

Melbourne Queer Film Festival

Program here

I Love You, Beksman (MQFF Opening Night)

Percival Intalan, 2023

Screenings Thurs 9 Nov

British Film Festival

Program here

The Prime of Miss Jean Brodie

Ronald Neame, 1969

Screening Sat 11 Nov

The Remains of the Day

James Ivory, 1994

Screening Sunday 12 Nov

BBBC CINEMA (GALLERYGALLERY BRUNSWICK)

Closed until summer

THE CAPITOL

No Screenings this Week

CHINATOWN CINEMA

Only the River Flows

Wei Shujun, 2023

Screening Daily

Under the Light

Yi-Mou Zhang, 2023

Screening Daily

CINÉ-CLUB (Carlton)

Love Letters From Teralba Road

Stephen Wallace, 1977

Rear of 135 Newry St (don't knock on the door), down the lane second green door on your left at the end

CINEMANIACS (ACMI)

Fatal Attraction

Adrian Lyne, 1987

Screening Sat 11 Nov

CINEMA NOVA

Previews

Melbourne Queer Film Festival

Program here

The Royal Hotel
Kitty Green, 2023

Screening Thurs (Q&A) and Wed 15 Nov

Uproar

Hamish Bennett, Paul Middleditch, 2023

Screening Thurs 9 Nov

Gravel Road

Tristan Pemberton, 2023

Screening Sat 11 Nob

General Release

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening Daily

Damage

Madeleine Blackwell, 2023
Screening daily

Eric Ravilious: Drawn to War

Margy Kinmouth, 2023

Screening daily

Foe
Garth Davies, 2023
Screening Daily

Blue Jean
Georgia Oakley, 2022
Screening Daily

The Killer

David Fincher, 2023

Screening Daily

Mutiny in Heaven: The Birthday Party

Ian White, 2023

Screening Daily

Monolith

James Vinson, 2023

Screening Daily

Mercy Road

John Curran, 2023

Sceening Daily

Killers of the Flower Moon

Martin Scorsese, 2023

Screening Daily

Rotting in the Sun

Sebastián Silva, 2023

Screening Daily

Disconnect Me

Alex Lykos, 2023

Screening Daily

The Origin of Evil

Sébastien Marnier, 2022

Screening Daily

Taylor Swift | The Eras Tour

Sam Wrench, 2023

Screening Fri, Sat, Sun

Lie with Me

Olivier Peyon, 2023

Screening Daily

The Crime is Mine

Francois Ozon, 2023

Screening Daily

Sick of Myself
Kristoffer Borgli, 2022
Screening Daily

Shayda

Noora Niasari, 2023

Screening Daily

Past Lives

Celine Song, 2023

Screening Daily

A Haunting In Venice
Kenneth Branagh, 2023
Screening Daily

Theater Camp
Molly Gordon & Nick Lieberman, 2023
Screening Daily

Asteroid City
Wes Anderson, 2023
Screening Daily

Talk To Me
Danny and Michael Philippou, 2023
Screening Daily

Barbie
Greta Gerwig, 2023
Screening Daily

Oppenheimer
Christopher Nolan, 2023
Screening Daily

DOGMILK DEGUSTATIONS: @ Miscellenia

Stay tuned for details on Season 3.

FRENCH FILM CLUB

L’Homme blesse

Patrice Chéreau, 1983

Screening at 6.30pm Thurs 9 Nov in the Arts West Cinema Space (room 353) with an introduction by PhD candidate Louse Cain

GAY24

No screening this week

HITLIST (9 Gertrude St, Fitzroy)

No screening this week

LIDO / CLASSIC / CAMEO

Jewish Film Festival

See Program Here

Bad Behaviour

Alice Englert, 2023

Screening Daily

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening Daily

Foe
Garth Davis, 2023
Screening Daily

The Killer

David Fincher, 2023

Screening Daily

Mutiny in Heaven: The Birthday Party

Ian White, 2023

Screening Daily

Monolith

James Vinson, 2023

Screening Daily

Mercy Road

John Curran, 2023

Sceening Daily

Killers of the Flower Moon

Martin Scorsese, 2023

Screening Daily

Rotting in the Sun

Sebastián Silva, 2023

Screening Daily

The Origin of Evil

Sébastien Marnier, 2022

Screening Daily

Taylor Swift | The Eras Tour

Sam Wrench, 2023

Screening Fri, Sat, Sun

The Crime is Mine

Francois Ozon, 2023

Screening Daily

Sick of Myself
Kristoffer Borgli, 2022
Screening Daily

Shayda

Noora Niasari, 2023

Screening Daily

The Creator

Gareth Edwards, 2023

Screening Daily

A Haunting In Venice
Kenneth Branagh, 2023
Screening Daily

Past Lives
Celine Song, 2023
Screening Daily

Talk To Me
Danny and Michael Philippou, 2023
Screening Daily

Barbie
Greta Gerwig, 2023
Screening Daily

Oppenheimer
Christopher Nolan, 2023
Screening Daily

THE MELBOURNE CINÉMATHÈQUE (ACMI)

The Moon Has Risen

Kinuyo Tanaka, 1955
Screening Wednesday 15 Nov 7pm
+
The Eternal Breasts
Kinuyo Tanaka, 1955
Screening starts at 9pm

MELBOURNE HORROR FILM SOCIETY

Brain Damage

Frank Henenlotter, 1988

Screening at True North Coburg on at 11 Nov

MELBOURNE UNIVERSITY: SCREENING IDEAS

No screening this week

PALACE BALWYN / BRIGHTON / COMO / KINO / PENTRIDGE / WESTGARTH

British Film Festival

Program here

Melbourne Queer Film Festival

Screening at the Kino only

Program here

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening Daily

Foe
Garth Davis, 2023
Screening Daily

The Killer

David Fincher, 2023

Screening Daily

Killers of the Flower Moon

Martin Scorsese, 2023

Screening Daily

The Origin of Evil

Sébastien Marnier, 2022

Screening Daily

Taylor Swift | The Eras Tour

Sam Wrench, 2023

Screening Fri, Sat, Sun

The Crime is Mine

Francois Ozon, 2023

Screening Daily

The Creator

Gareth Edwards, 2023

Screening Daily

A Haunting In Venice
Kenneth Branagh, 2023
Screening Daily

Barbie

Greta Gerwig, 2023

Screening Daily

Oppenheimer
Christopher Nolan, 2023
Screening Daily

STATIC VISION

No screening this week

SUN CINEMAS YARRAVILLE

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening Daily

The Killer

David Fincher, 2023

Screening Daily

Mutiny in Heaven: The Birthday Party

Ian White, 2023

Screening Daily

Mercy Road

John Curran, 2023

Sceening Daily

Killers of the Flower Moon

Martin Scorsese, 2023

Screening Daily

The Origin of Evil

Sébastien Marnier, 2022

Screening Daily

Taylor Swift | The Eras Tour

Sam Wrench, 2023

Screening Fri, Sat, Sun

Caravaggio’s Shadow
Michele Placido, 2022

Lie with Me

Olivier Peyon, 2023

Screening Daily

The Crime is Mine

Francois Ozon, 2023

Screening Daily

Shayda

Noora Niasari, 2023

Screening Daily

The Creator

Gareth Edwards, 2023

Screening Daily

A Haunting In Venice
Kenneth Branagh, 2023
Screening Daily

Theater Camp
Molly Gordon & Nick Lieberman, 2023
Screening Daily

The Nun II
Michael Chaves, 2023
Screening Daily

Ego: The Michael Gundinski Story

Paul Goldman, 2023

Screening Daily

Past Lives

Celine Song, 2023

Screening Daily

THORNBURY PICTURE HOUSE

Bad Behaviour

Alice Englert, 2023

Screening Thurs, Sat, Tues, Wed

Stop Making Sense (40 Year Anniversary re-release)

Jonathan Demme, 1983

Screening Fri, Sat, Sun, Mon, Wed

Mutiny in Heaven: The Birthday Party

Ian White, 2023

Screening Sat 11 and Wed 15 Nov

Past Lives

Celine Song, 2023

Screening Sun 12 Nov

Beat Street

Stan Lathan, 1984

Screening Sun 12 Nov

Killer of the Flower Moon

Martin Scorsese, 2023

Screening Wed 15 Nov

UNKNOWN PLEASURES (BILL MOUSOULIS + CHRIS LUSCRI)

No screening this week