The remarkable early life of one of Australia’s most famed sons will captivate moviegoers when Umbrella Entertainment releases the adventure biopic, IN LIKE FLYNN across cinemas nationally on 11 October 2018.

Directed by Russell Mulcahy (Highlander 1 & 2, Resident Evil: Extinction, Teen Wolf) with rising star, Thomas Cocquerel (Kidnapping Mr. Heineken, Billionaire Boys Club, Red Dog: True Blue) in the titular role, IN LIKE FLYNN transports audiences to 1930, before Errol Flynn became a legendary matinee idol of Hollywood’s Golden Age.

Whilst serving as a guide for a Hollywood producer in the jungles of Papua New Guinea, young Flynn discovers a trail that will lead to a fortune in gold.  Back in Depression-era Sydney, he recruits a motley group of fellow opportunists with whom he sets sail in a yacht stolen from Chinese opium smugglers. What follows is a mythical and satirical coming-of-age story about four men on a journey to find hope, adventure and fortune at a time when the world was spiralling into despair.

Shot entirely on location in Queensland’s Gold Coast and co-starring Corey Large, William Mosely, Isabel Lucas, David Wenham, with Dan Fogler and Clive Standen, this is the story of a man whose real life exploits were arguably more colourful and outrageous than any he depicted on the silver screen.
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‘Film Noir’ considers a history of this distinctly American style. It brings together a selection of pre-noir films from the 1920s and 1930s, including beloved gangster stories (Underworld 1927, Josef von Sternberg) and influential German expressionist films (M 1931, Fritz Lang), alongside film noir classics (Double Indemnity 1944, Billy Wilder; The Big Sleep 1946, Howard Hawks). It also considers contemporary cinemas with the themes and aesthetics of film noir (Taxi Driver 1976, Martin Scorsese; Drive 2011, Nicolas Winding Refn) and its ongoing international influence (Goldstone 2016, Ivan Sen). Read more on our Blog

For ticketed film programs the Cinémathèque Box Office opens one hour prior to screenings and you are able to purchase snacks and refreshments during this time. You are more than welcome to take your drinks into the cinema. As we do not screen trailers prior to films we suggest you arrive early to allow plenty of time to enter and find a seat.

Film Noir
31 Mar 2017 – 21 May 2017
GOMA – Cinema A, Brisbane
www.qagoma.qld.gov.au

Italian Jewels: Bulgari Style brings together Bulgari’s visionary creativity and the maison’s leading women in a spectacular display of film, photography and glittering jewels.

Showcasing the longstanding relationship between Bulgari, Rome and Hollywood cinema, the exhibition features exquisite jewels from the personal collections of Elizabeth Taylor and Gina Lollobrigida and favoured by prestigious patrons such as Anita Ekberg and Grace Kelly. Spectacular jewels worn on the red carpet by leading Hollywood starlets, such as Kiera Knightley, feature from the Bulgari Heritage Collection.

Organised by the National Gallery of Victoria in collaboration with Bulgari Heritage.

Bulgari Style Exhibition
30 September 2016 – 29 Janurary 2017
NGV International
Level 3
www.ngv.vic.gov.au

Viewers with a basic knowledge of cinema history will be paid dividends as the references to a glorious past arrive with regularity. From references like the dance extravaganzas of Busby Berkeley to the screwball comedy of Cary Grant, the love and respect is up on the silver screen for all to see.

A familiar cast of characters is evident and Josh Brolin, George Clooney, Frances McDormand and Scarlett Johansson are just a few regulars that do justice to the always-impressive words of the brothers. There are also the usual underlining themes that give even a period piece like this relevance to today. The screenplay also features some classic Coen characters and the now almost pre-requisite absurd situations to mull over.

The Coen’s trend of following heavy fare with that of a more whimsical nature is intact and Hail, Caesar! is much less demanding than 2013’s Inside Llewyn Davis. It’s subtlety and irony might be lost on some but it’s a worthy addition to the Coen’s canon.

Rob Hudson
www.hailcaesar.com.au

Asked about writing her autobiography, Judy Garland stated: “When you’ve lived the life I’ve lived, when you’ve loved and suffered, and been madly happy and desperately sad – well, that’s when you realise you’ll never be able to set it all down. Maybe you’d rather die first.”

And die she did. In 1969.

But now she’s finally done it, her autobiography is hot off the heavenly presses and she wants to share it with you! This is the come back to end all come backs. Garland in her own words and on her own terms. Coming clean about those nasty rumours and Hollywood hallucinations. Reunited with her musical director Mort Lindsey, she’s ready to reminisce, sing some old favourites and try out some new numbers she’s been working on beyond the grave.

Judy Strikes Back
Thursday 13 to Saturday 15 August, 7:30pm
Performance Space, JWCOCA
www.judithwrightcentre.com

This exhibition will take visitors behind the scenes to gain a glimpse into Hollywood of the 1920s to 1960s through a collection of costumes, props and ephemera connected to the cinema’s most iconic stars, studios and designers. This extraordinary exhibition is drawn from a sole private collection owned by Brisbane resident Nicholas Inglis who has been avidly acquiring motion picture costumes and memorabilia for close to two decades.

It will feature costumes worn by some of Hollywood’s most famous and enduring stars including Julie Andrews, Fred Astaire, Marlon Brando, Judy Garland, Grace Kelly, Elizabeth Taylor, Lana Turner and Barbra Streisand, alongside names that have faded from celluloid memory.

Costumes from the Golden Age of Hollywood will be shown exclusively in Brisbane, with all of the costumes exhibited in Australia for the very first time.

Costumes from the Golden Age of Hollywood
22 Nov 2014 — 24 May 2015
10am – 5pm daily
Gallery 2 & The Clem Jones Gallery
www.museumofbrisbane.com.au

‘Forbidden Hollywood’ celebrates this unique period of creative freedom which ended with the reinstatement of traditional moral values through the Motion Picture Production Code in 1934.

Following the Wall Street Crash of 1929 and the Depression, struggling Hollywood studios sought to attract audiences by creating films that pushed the boundaries of social acceptability. With a gleeful mix of realism and glamour, these films tackled issues of sexuality and crime, social criticisms and a growing mistrust of authority. Strong women dominated the screen, scorning the prevailing Victorian-era ideals of passivity and purity, while stories about the police and gangsters were ripped straight from newspaper headlines during the Prohibition era.

By 1934, conservative groups — who had railed for years against what they saw as Hollywood’s attack on traditional family values — succeeded in making the film studios adhere to the Production Code’s censorship guidelines, a move that would affect audiences until 1968, when the code was abandoned in favour of a rating system.

‘When I’m good, I’m very good. But when I’m bad, I’m better.’ Mae West as Tira in I’m No Angel 1933

26 September – 2 November 2014
Australian Cinémathèque | Gallery of Modern Art (GOMA)
www.qagoma.qld.gov.au