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	Image: Bicycle thieves, dir: Vittorio De Sica, 1949, Italy

Picasso goes to the movies

Ground-breaking films from a century of cinema

Curated by Robert Herbert

Pablo Picasso (1881–1973) is among the rarest figures in our cultural history: an esoteric, revolutionary artist who achieved not only universal fame, but genuine popularity. Spanning seven decades of the 20th century, his work became synonymous with modern art itself.

Like Picasso, cinema was born during the last decades of the 19th century and rose to become the dominant artform of the 20th century. It became the historian and conscience of its time, mirroring the upheavals in society and great changes in technology and aesthetics. Consequently, our memory of the 20th century tends to merge with images from the cinema. Cinema recorded the disasters of war, the absurdities of fashion, the clash of cultures, and modern living’s challenges to traditional values, commonsense, logic and morality. It opened free spaces for the imagination – just like the revolutionary art produced by Picasso and others of his generation.

In a parallel to Picasso’s career, this series of films is chosen from a century of cinema. Uncompromising and hard-edged, they not only reflect life throughout the 20th century in the west, but they challenged and advanced the medium itself. As with Picasso’s paintings, these films emphasised their own constructed, fictional character, while remaining intellectually bracing and emotionally compelling.

Sat 7 Jan screenings: part of Festival First Night

The Gallery would like to thank the following for their valuable contribution to the film program: Mark Spratt, Chapel Distribution, Emmanuelle Denavit-Feller, French Embassy, Lina Raso, Level Four Films, Scott Harding, Umbrella Entertainment, Nicholas Varley, Park Circus, Tony Zrna, Palace Films, Carlene Price, Australian Centre for the Moving Image, Clémentine De Blieck, Cinémathèque Royale de Belgique/Cinematek, Charles Slaats, National Film and Sound Archive of Australia, Paul Mackenzie, Roadshow, Paul Tonta, Madman Entertainment, Camille Calcagno, Tamasa Distribution.

Special thanks to Terence Maloon, Diana Panuccio, Felicity Jenkins and Karen Hancock.

Image: Bicycle thieves, dir: Vittorio De Sica, 1949, Italy

Wednesdays 2pm & 7.15pm, Sundays 2pm
9 November – 18 December 2011,
4 January – 25 March 2012

Special Saturday screenings:
19 November 2011, 2pm
3 December 2011, 2pm
7 January 2012, 5.30pm & 9.30pm
21 January 2012, 2pm


Tickets are issued at the Domain Theatre one hour before commencement. Films start at the advertised time. Doors open 30 minutes before this. Latecomers not admitted.

Location: Domain Theatre

Related exhibition: Picasso: masterpieces from the Musée National Picasso

Institut Français

The general

Dir: Buster Keaton, Clyde Bruckman 1927 (USA)
74 mins 35mm B&W
Rated G
Buster Keaton, Marian Mack

On 28 December 1895, cinema as we know it was born, thanks to the efforts of two pioneering French brothers, Auguste and Louis Lumière. Their films, mostly simple scenes of everyday life, were the first to be shown to a paying public. Such was the popularity of the new medium that, by the mid 1920s, movies had become big business worldwide. One of the greatest stars of the silent era, Buster Keaton was best known for his trademark knock-about comedy offset by a deadpan demeanor. The general is surely Keaton’s finest work. He plays a railway engineer during the Civil War, determined to recapture his stolen locomotive. Magnificent battle scenes provide a backdrop for inspired acrobatics, ingenious stunt work and meticulous attention to filmic detail.


Wednesday 9 November 2011 2pm – 3:14pm

Wednesday 9 November 2011 7:15pm – 8:29pm

Sunday 13 November 2011 2pm – 3:14pm

Zero for conduct

Dir: Jean Vigo 1933 (France)
44 mins 35mm B&W
Rated R (unclassified)
Louis Lefèvre, Gilbert Pluchon
French with English subtitles

Made in 1933, but banned by the French censor for twelve years, Jean Vigo’s study of schoolboy life is based on his personal experience and conveys the disturbed atmosphere in France during the Great Depression. Like his activist father (who was presumed to have been murdered in prison), Vigo was a committed contrarian. Charting the rebellion of three young boys in a sordid, provincial boarding school and veering in style between social realism and surrealist farce, Zero for conduct champions the lawless students over their caricatured teachers.


Wednesday 16 November 2011 2pm – 2:44pm

Sunday 20 November 2011 2pm – 2:44pm


Dir: Jean Vigo 1934 (France)
87 mins 35mm B&W
Rated G
Michel Simon & Dita Parlo
French with English subtitles

By the early 1930s, the ‘talkies’ were a global phenomenon, with box-office takings skyrocketing. The novelty of sound ensured the film business could ride out the Great Depression, but to retain the stylistic elegance and dexterity of filmmaking was no simple matter, as the camera had to be encased in a large, clumsy, soundproof box. On the frontier between silent films and the talkies, the work of Jean Vigo lost no opportunity to bring small details to life and to transform the commonplace into the magical. In 1934 the snaking canals and desolate suburbs of Paris provided the backdrop for his poetic-realist depiction of the hardships of working-class life on the river barges. In this trancelike and lyrical tale, a young girl finds a mate aboard a barge, but grows bored and frustrated with the dullness of her life. When the vessel docks in Paris, she makes an escape. Vigo died of tuberculosis on his thirtieth birthday, shortly after completing L’Atalante.


Wednesday 16 November 2011 3pm – 4:30pm

Wednesday 16 November 2011 7:15pm – 8:45pm

Sunday 20 November 2011 3pm – 4:30pm

Visit to Picasso + Guernica

Visit to Picasso
Dir: Paul Haesaerts 1950 (Belgium)
21 mins 35mm B&W

A short film made by Belgian director Paul Haesaerts at Picasso’s studio in Vallauris, in the south of France. Visit to Picasso is a classic documentary which features the artist painting on glass while the camera films from the reverse side. This visual trick allows the viewer to witness Picasso as he paints a succession of images with the bare minimum of well placed brushstrokes. Shot in black and white, it is a lyrical and witty portrait of the artist at work. Haesaerts’ portrayal of Picasso as the performing artist influenced subsequent documentaries about Matisse, Jackson Pollock and Henri-Georges Clouzot’s 1956 film, The mystery of Picasso (screening on 7 January).

Dir: Alain Resnais, Robert Hessens 1950 (France)
13 mins 35mm B&W
French with English subtitles

On 26 April 1937, the small Basque town of Guernica was bombed without warning by the German air force, in support of Spanish Fascist forces led by Generalissimo Francisco Franco. This was the first air raid ever inflicted on a defenceless civilian population, and the town of Guernica burned for three days afterwards, leaving hundreds of civilians dead and wounded. Aghast at this criminal act, Picasso channelled his indignation into a monumental painting that bears the name of the martyred city. Drawing on Picasso’s paintings, drawings and sculptures, Resnais’ and Hessens’ sombre short film uses fragmented images, atonal music and blank verse commentary to represent the horrors of the German carpet-bombing.


Saturday 19 November 2011 2pm – 2:35pm

Saturday 3 December 2011 2pm – 2:35pm

The Raven

Dir: Henri-Georges Clouzot 1943 (France)
93 mins 35mm B&W Rated PG
Pierre Fresnay, Micheline Francey
French with English subtitles

A small French village is plagued by a poison-pen writer. Identified as ‘The Raven’, the anonymous citizen attacks fellow townspeople, principally the town doctor. The vitriolic letters soon expose the collective suspicion and resentment seething beneath the community’s calm surface as neighbour turns against neighbour with outrageous allegations. Shot in the first year of the Nazi occupation of France under the watchful eye of the German-controlled Vichy government, Le Corbeau is a stylised, bleak, yet witty portrait of Occupied France and its obsession for petty bickering and vengeful denunciation. Produced by the German production company Continental Films, the film was besieged with criticism from both sides – the Resistance considered it pro-Nazi propaganda while the Vichy supporters demanded the film be banned for its immoral values. Condemned as unpatriotic after the Liberation, director Henri-Georges Clouzot was banned from filmmaking until 1947 when the complex anti-informant, anti-Gestapo subtext of The Raven was finally recognised.

Note: Grand illusion will not screen, as previously advertised.


Wednesday 23 November 2011 2pm – 3:35pm

Wednesday 23 November 2011 7:15pm – 8:50pm

Sunday 27 November 2011 2pm – 3:35pm

Bicycle thieves

Dir: Vittorio De Sica 1949 (Italy)
90 mins 35mm B&W
Rated PG
Lamberto Maggiorani, Enzo Staiola
Italian with English subtitles

Vittorio De Sica’s touchingly honest film tells its tragic story amidst the rubble of post-World War II Rome. A billposter’s bicycle, on which his livelihood depends, is stolen. Ignored by the police, who see nothing special in the loss, the anguished worker and his young son search Rome for the thief. Bicycle thieves is one of the best known films of Italian neo-realism, a movement which grew out of the dire post-war conditions in Italy. De Sica brings the lives of ordinary Italian people to the screen, shooting on location and using untrained performers: Lamberto Maggiorani, the leading actor, was a factory worker. The result is a meditation on the human condition that speaks directly to the heart with limpid eloquence.


Wednesday 30 November 2011 2pm – 3:30pm

Wednesday 30 November 2011 7:15pm – 8:45pm

Sunday 4 December 2011 2pm – 3:30pm

Beauty and the beast

Dir: Jean Cocteau 1946 (France)
92 mins 35mm B&W
Rated PG
Jean Marais, Josette Day
French with English subtitles

Producing a vast and diverse collection of work (poems, drawings, plays, sculptures), Jean Cocteau – a long-time friend of Picasso – wrote and directed a small but astonishing group of films. Joyously inventive and technically rigorous, this classic 1946 film goes beyond the retelling of a famous children’s story by Mme Leprince de Beaumont. An eerie visual beauty and a surrealistic atmosphere mark Beauty and the beast as a genuine original. The tragic love of Beauty (Josette Day) and the all-too-human Beast (Jean Marais) is recounted in fantastic, Vermeer-like settings, which give form to their world of desire and dreams. Made in the immediate aftermath of Nazi-occupied France, the narrative shows a devastated country, with the traditional bourgeois family divided, penniless and lacking a strong patriarch. One of the major cinematic triumphs of its time, it helped revitalise France’s film industry, and contributed to the nation’s economic and cultural recovery.


Wednesday 7 December 2011 2pm – 3:32pm

Wednesday 7 December 2011 7:15pm – 8:47pm

Sunday 11 December 2011 2pm – 3:32pm

Mr Hulot’s holiday

Dir: Jacques Tati 1952 (France)
91 mins 35mm B&W
Rated G
Jacques Tati, Nathalie Pascaud

A charming and lighthearted film about the chaos that can overtake hapless vacationers. Jacques Tati’s endearing clown, Mr Hulot, arrives at a seaside resort and provokes one catastrophe after another. Tati was an austere actor-director in the tradition of silent-film comedies, who made his show-business debut in the music hall. Beginning in the late 1940s he produced a collection of rare, almost wordless movies entirely conceived, written and performed by himself, built around tightly choreographed sight-gags and a witty deployment of sound effects.


Wednesday 14 December 2011 2pm – 3:31pm

Wednesday 14 December 2011 7:15pm – 8:46pm

Sunday 18 December 2011 2pm – 3:31pm

The third man

Dir: Carol Reed 1949 (UK)
104 mins 35mm B&W
Rated PG
Joseph Cotton, Orson Welles

With a screenplay by novelist Graham Greene, this summit of filmic suspense is set in exhausted, embittered, post-war Vienna. An American pulp fiction writer (Joseph Cotton) discovers an old friend he had presumed dead, who is now the head of a vicious European black-market organisation, hiding in the foreign sector of the rubble-strewn city. The expressionist cinematography, exploiting harsh lighting and distorted camera angles, is by Robert Krasker; in combination with unique theme music, authentic locations and acclaimed performances, it all adds up to a masterpiece of British film noir.


Wednesday 4 January 2012 2pm – 3:45pm

Wednesday 4 January 2012 7:15pm – 9pm

Sunday 8 January 2012 2pm – 3:45pm

The mystery of Picasso

Dir: Henri-Georges Clouzot 1956 (France)
78 mins 35mm Colour

In 1956, the celebrated French director Henri-Georges Clouzot filmed Pablo Picasso at work. Picasso rose to the occasion by defining a new art form: drawing and painting specifically for the movie camera. Using a specially designed transparent ‘canvas’ to give an unobstructed view, Picasso doodles as the camera rolls. Starting with light-hearted improvisations that ‘take a line for a walk’ and admit no revision or error, he goes on to tackle more complex paintings where he could add and subtract elements. While the film ostensibly gives a candid glimpse into his creativity, Picasso’s talent to amuse completely upstages his artistry. He plays up to the camera, making his virtuosity look effortless. In actuality, he later destroyed all the drawings we see him creating, leaving the film as their only record.

Part of Festival First Night


Saturday 7 January 2012 5:30pm – 6:50pm

Saturday 7 January 2012 9:30pm – 10:50pm


Dir: Jean Cocteau 1950 (France)
112 mins 35mm B&W
Rated PG
Jean Marais, Maria Casares
French with English subtitles

Using the existentialist, proto-beatnik Paris of 1949 as a jazzy backdrop, Jean Cocteau’s surrealist masterpiece is a modern retelling of the Greek myth exploring love, death and the mystery of mortality. Jean Marais plays Orpheus, the successful, envied, despised poet who has made himself immortal. Maria Casares co-stars as the lonely, troubled, passionate Death. Like Picasso, Cocteau was scarred by the horrors of World War II, and the imagery employed in Orphée is his testament to these dark years. The examination of prisoners in the underworld evokes the grimness of interrogations by the Conseils d’Epuration in the months after the liberation; the helmeted, dark-goggled, leather-jacketed motorcyclist assassins conjure German SS militia; the cryptic ‘poems’ transmitted by radio suggest coded British and Resistance communications.


Wednesday 11 January 2012 2pm – 3:52pm

Wednesday 11 January 2012 7:15pm – 9:07pm

Sunday 15 January 2012 2pm – 3:52pm

I Vitelloni

Dir: Federico Fellini 1953 (Italy)
109 mins 35mm B&W
Rated G
Alberto Sordi, Franco Fabrizi
Italian with English subtitles

Set in the director’s hometown of Rimini, Fellini’s third film is a downbeat story that follows the lives of five discontented, restless youths. Regarded as layabouts, they live in a world of dreams, fantasies, adolescent jokes and – for the most part – bored inactivity. Gradually each is compelled to face reality, yet only one of them is fundamentally changed by the experience. Produced in the shadow of World War II, I Vitelloni includes some of Fellini’s most autobiographical material. The use of real locations, the subject of the working classes, the portrayal of anomie and longing for radical social change establish it one of the first films of its kind in Europe. It brought Fellini recognition as a master filmmaker and laid the foundations for his brilliant sequel, La Strada.


Wednesday 18 January 2012 2pm – 3:49pm

Wednesday 18 January 2012 7:15pm – 9:04pm

Sunday 22 January 2012 2pm – 3:49pm

Guernica + Jean Cocteau self portrait

Dir: Alain Resnais, Robert Hessens 1950 (France)
13 mins 35mm B&W
French with English subtitles

On 26 April 1937, the small Basque town of Guernica was bombed without warning by the German air force in support of Spanish Fascist forces led by Generalissimo Francisco Franco. This was the first air raid ever inflicted on a defenceless civilian population, and the town of Guernica burned for three days afterwards, leaving hundreds of civilians dead and wounded. Aghast at this criminal act, Picasso channelled his indignation into a monumental painting that bears the name of the martyred city. Drawing on Picasso’s paintings, drawings and sculptures, Resnais’ and Hessens’ sombre short film uses fragmented images, atonal music and blank verse commentary to represent the horrors of the German carpet-bombing.

Jean Cocteau: self-portrait of an unknown man
Dir: Edgardo Cozarinsky 1983 (France)
90 mins 16mm Colour
French with English subtitles

In this ‘first person’ documentary, Edgardo Cozarinsky uses a long interview with Cocteau where he describes intellectual life in Paris at the turn of the 20th century, the birth of the avant-garde and the uproar that greeted the staging of Parade, a ballet with music by Erik Satie and scenario by Cocteau. Parade was composed for Serge Diaghilev’s Ballets Russes and premiered on 18 May 1917 at the Théâtre du Châtelet in Paris, with costumes and sets designed by Picasso.


Saturday 21 January 2012 2pm – 3:45pm

La Strada

Dir: Federico Fellini 1954 (Italy)
104 mins 35mm B&W
Rated M
Giulietta Masina, Anthony Quinn
Italian with English subtitles

In Fellini’s first internationally acclaimed film, Gelsomina (Giulietta Masina), a naive peasant girl, is sold to a circus strongman, Zampanò (Anthony Quinn). They tour the countryside in a seedy travelling carnival. She falls desperately in love, while he callously exploits her at every turn. Gelsomina is the victim and Zampanò the brute, until their meeting with an acrobat (Richard Basehart), which dramatically changes their lives. Moving beyond his neo-realist roots, Fellini weaves in Chaplinesque pathos and invests the desolate towns with poetry. He described this parable of the search for meaning as ‘the first complete catalogue of my mythical world’.


Wednesday 25 January 2012 2pm – 3:45pm

Wednesday 25 January 2012 7:15pm – 9pm

Sunday 29 January 2012 2pm – 3:45pm

The cranes are flying

Dir: Mikhail Kalatozov 1957 (USSR)
97 mins 35mm B&W
Rated M
Tatyana Samojlova, Aleksey Batalov
Russian with English subtitles

Prior to 1956 Russian cinema was governed by Soviet Communist Party rules. Approved directors were limited to official subjects or faced censorship, banishment, even death. After Khrushchev denounced Stalin’s regime in February 1956, certain aspects of Soviet life were instantly liberated. The new era was heralded with a film by veteran director Mikhail Kalatozov. Winning the Palme d’Or at Cannes in 1958, The cranes are flying was the first of a series of films which showed World War II in terms not necessarily heroic. It tells the story of Veronika, a woman so shattered by the news that her husband has been killed in action that she agrees to marry his brother, a man she doesn’t care for. When the film was released in the Soviet Union, it caused a sensation amongst audiences accustomed to propaganda. For the first time they were able to acknowledge the pain of loss they had experienced during the war. According to one review, ‘the silence in the theatre was profound, the wall between art and living life had fallen… and tears unlocked the doors.’


Wednesday 1 February 2012 2pm – 3:37pm

Wednesday 1 February 2012 7:15pm – 8:52pm

Sunday 5 February 2012 2pm – 3:37pm

Hiroshima, mon amour

Dir: Alain Resnais 1959 (France)
91 mins 35mm B&W Rated PG
Emmanuelle Riva, Eiji Okada
French with English subtitles

In Alain Resnais’ influential first feature, two people meet in Hiroshima and become lovers: a French woman who was punished for her wartime romance and a Japanese man whose life was shattered by the nuclear blast. A complex series of flashbacks, fantasies and nightmares reveal the past, present and future and establishes the relationship between historical calamities and personal histories. Hailed as a masterpiece of the French new wave, Hiroshima, mon amour ranks as one of the seminal films of the late 1950s and early 1960s ‘modernist’ renaissance. Scripted by French novelist Marguerite Duras.


Wednesday 8 February 2012 2pm – 3:31pm

Wednesday 8 February 2012 7:15pm – 8:56pm

Sunday 12 February 2012 2pm – 3:31pm


Dir: Jean Luc Godard 1959 (France)
91 mins 35mm B&W
Rated PG
Jean-Paul Belmondo, Jean Seberg
French with English subtitles

Director Jean-Luc Godard’s low-budget, mostly improvised Breathless came to be regarded as one of the boldest and most influential achievements of French new wave cinema. With its star Jean-Paul Belmondo in the role of a young hoodlum (dashing, daring, cynical, narcissistic, modelling himself on Humphrey Bogart), Godard gave voice to, and diagnosed, the rising generation. He endowed the film with a casual-seeming fluidity and spontaneity in keeping with the character of the protagonist, throwing off the decorum of ‘quality cinema’ by using a hand-held camera and real-life settings. The cameraman, Raoul Coutard, was originally a documentary cameraman for the French army’s information service in Indochina. He was chosen because Godard wanted the film to be, as much as possible, shot like a documentary.


Wednesday 15 February 2012 2pm – 3:31pm

Wednesday 15 February 2012 7:15pm – 8:46pm

Sunday 19 February 2012 2pm – 3:31pm

The exterminating angel

Dir: Luis Buñuel 1962 (Mexico)
95 mins 35mm B&W
Rated M
Silvia Pinal, Enrique Rambal
Spanish with English subtitles

Spanish-born Luis Buñuel’s ferociously brilliant The exterminating angel is a film in a very black key. It depicts the descent into a living hell when a group of guests at an upper-class dinner party discover that they cannot escape the four walls of their hosts’ luxurious living room. The eerie, comic absurdity of their predicament highlights the director’s preoccupation with the dark side of rituals and dependencies and his profound scorn of the privileged classes. ‘Illuminated by unexpected shafts of generosity and tenderness, it remains one of Buñuel’s very best’ – Tom Milne


Wednesday 22 February 2012 2pm – 3:35pm

Wednesday 22 February 2012 7:15pm – 8:50pm

Sunday 26 February 2012 2pm – 3:35pm

Billy Liar

Dir: John Schlesinger 1963
98 mins 35mm B&W
Rated M
Tom Courtenay, Julie Christie

As the 1950s ended, British cinema exploded with new energy. Throwing out stuffy, middle-class drawing room comedies and war-obsessed dramas, young directors from theatre, television and documentary film, and a new breed of actors (many from working-class backgrounds) united to create a socially conscious cinema that trampled down many of the old taboos of sex and class. The fictional Yorkshire town in John Schlesinger’s Billy Liar represents the country in transformation. Back-to-back housing is giving way to high-rise flats and supermarkets. However, there’s not enough to interest Billy Fisher (Tom Courtenay), an aspiring writer and lazy young man who works in a funeral parlour and attempts to escape routine by seducing girls and retreating into a fantasy where all his ambitions can come true. Made at a time when Britain ‘never had it so good’, Billy Liar exposes the generation gap which opened dramatically, as education and prosperity drove a wedge between teenagers and their less fortunate parents.


Wednesday 29 February 2012 2pm – 3:38pm

Wednesday 29 February 2012 7:15pm – 8:53pm

Sunday 4 March 2012 2pm – 3:38pm

The passenger

Dir: Michelangelo Antonioni 1975 (It/Fr/Sp)
126 mins 35mm Colour Rated M
Jack Nicholson, Maria Schneider

Securing his place in the history of the cinema with a unique personal vision and modernist 20th century sensibility, Antonioni was one of the cinema’s great aesthetes. His early work reveals a new beauty amid the mechanical jungle of 20th century urban society. In The passenger Jack Nicholson plays David Locke, a disillusioned TV reporter working in Africa, who exchanges identity with an acquaintance he finds dead in an adjacent hotel room. Impulsively ‘trading in’ his own life for that of another man, Locke attempts to escape from the painful prison of his own existence. He finds himself hunted, not just by a mystified wife and friends, but by sinister strangers. Restored director’s cut


Wednesday 7 March 2012 2pm – 4:06pm

Wednesday 7 March 2012 7:15pm – 9:21pm

Sunday 11 March 2012 2pm – 4:06pm

Come and see

Dir: Elem Klimov 1985 (USSR)
146 mins 35mm Colour
Rated R (unclassified)
Aleksei Kravchenko, Olga Mironova
Russian, German, Belarusian with English subtitles

A rare look at World War II from the Soviet side, Come and see is based on the real-life experiences of Ales Adamovich, who fought with Russian partisans in Belarus in 1943, when the Nazis systematically torched more than 600 villages and slaughtered their inhabitants. Adamovich and director Elem Klimov co-authored the screenplay, which shows the horrors through the eyes of a 13-year-old peasant boy named Florya (Alexei Kravchenko). Awarded the Grand Prix at the 1985 Moscow Film Festival, Come and see is an unflinching portrait of one of the darker chapters in 20th-century history. It is not about war, but about survival in an irrational world of carnage and horror, where the urge to flee is checked by the basic human need to stay together.


Wednesday 14 March 2012 2pm – 4:26pm

Wednesday 14 March 2012 7:15pm – 9:41pm

Sunday 18 March 2012 2pm – 4:26pm

2001: a space odyssey

Dir: Stanley Kubrick 1968 (GB)
141 mins 35mm Colour
Rated MA15+
Keir Dullea, Gary Lockwood

Kubrick’s most famous and influential film was an all-consuming experience that dazzled audiences in 1968. It transformed science-fiction cinema, transcending the generic boundaries and permanently altering audience expectations. Kubrick chose to keep 2001: a space odyssey mysterious and enigmatic, offering a mythic vision of the relationship between humanity and technology. With an extremely slow pace and elusive narrative, 2001 is the rarest of cinematic achievements: a big-budget, non-narrative spectacle which makes an original and personal statement about the human condition. Released at the height of the space race between the USSR and the US – the time of NASA’s exploratory Apollo Project – it prophesied the impact that computers would have on our daily lives.


Wednesday 21 March 2012 2pm – 4:21pm

Wednesday 21 March 2012 7:15pm – 9:36pm

Sunday 25 March 2012 2pm – 4:21pm