A celebration of the most iconic – and much missed – homegrown star of the 21st century, BACK TO BLACK tells the extraordinary tale of Amy Winehouse.

Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honours Amy’s artistry, wit, and honesty, as well as trying to understand her demons.

An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent. In Cinemas April 11
www.backtoblackmovie.com.au/

To enter this great competition, just fill out the entry form below. Please note – this screening is on Wednesday April 10 at 6:30pm at Event Cinemas Chermside. Tickets are not transferable.

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Competition will be drawn April 8, winners will be notified by email.

Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honours Amy’s artistry, wit, and honesty, as well as trying to understand her demons.

An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent.
www.facebook.com/STUDIOCANAL.AUS/

When Winehouse broke out in the early noughties, she really stood out. Here was a jazz singer that wrote incredibly personal lyrics, had great vocal chops and delivered them with a looseness that ran counter to a lot of jazz singer’s rigid professionalism. That she was a hot mess only added to the original appeal.

The film was made in the beginning with the family’s full approval but as the final cut came together their disapproval became pronounced and it’s easy to see why as her father is portrayed as poorly as any stage dad ever has. His narcissistic approach to his daughters crash course on cliché artist demise is infuriating. Yes Amy had a self-destructive streak but was there no one in her entourage that could provide counsel? Could no one help her see her humanity slipping away?

There is a line in the film that encapsulates this sorrow when Winehouse (clean at the time) states that in the midst of all the celebrations of her Grammy night success she finds it’s so boring without drugs. Some view talent as a curse, some as a saviour but with the draconian and profitable nature of talent of this level, it’s infuriating that this story gets told so often.

Rob Hudson
www.facebook.com/UniversalPicturesAU

Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Director Chris Saines CNZM said tickets were on sale now for more than 25 films in ‘Get What You Want: Music Cinema’, a program screening from 2 September to 2 October in conjunction with Brisbane Festival.

The film program covers all genres of music from country to disco, folk to hip hop, house to punk, and metal to reggae. It includes films that provide insight on the music and lives of artists including Kurt Cobain, Amy Winehouse, Bob Marley, Miles Davis, Madonna and more.

‘We witness the motivations of some of the most mythologised stars of modern music as well as far-flung communities where grass roots movements are localising contemporary genres to powerful effect,’ Mr Saines said.

‘Get What You Want’ opens on Friday 2 September with a Madonna double-bill. Following the 6pm screening of the new documentary Strike a Pose 2016 exploring the life of backup dancers away from the spotlight of the 1990 Blond Ambition tour, In Bed with Madonna 1991 then screens from 8pm.

Documentaries on musical icons such as the heartbreaking Amy Winehouse story Amy 2015 and the surreal day-in-the-life of Nick Cave 20,000 Days on Earth 2014 will screen, as will an illuminating profile of reggae star Bob Marley, Marley 2012 and the tortured portrait of the symbol of a generation, Kurt Cobain, in Montage of Heck 2015.

Buried Country: The Story of Aboriginal Country Music 2000 shows how the genre’s themes of loss and endurance have deep relevance for Indigenous Australian musicians, while Maestro 2003 explores the roots of dance music culture in the night clubs of 1970s New York, and heavy metal makes a difference in the most unexpected of places with Death Metal Angola 2012.

Feature films in the program include the Coen Brothers’ Inside Llewyn Davis 2013, punk classic Ladies and Gentlemen, The Fabulous Stains 1982, and Don Cheadle’s directorial debut and star turn as influential jazz man Miles Davis in Miles Ahead 2015. Purple Rain 1984 also screens.in tribute to the recently departed legend, Prince.

Peter McKay, Curator, Contemporary Australian Art, QAGOMA, said ‘Get What You Want’ would explore the impulses that drive performers and audiences in pursuit of great musical experiences.

‘The program gives audiences insights into the creative and social dynamics that operate across musical subcultures,’ Mr McKay said.

The rarely screened underground documentary All Ears: A Glimpse into the Los Angeles Beat Community 2013 examines the influence of producers J Dilla and Madlib on the scene that coalesced around LA’s Low End Theory nightclub in the mid 2000s. It screens with Our Vinyl Weighs a Ton: This is Stones Throw Records 2013, which celebrates the eclectic LA record label, ahead of a 20th anniversary celebration of Stones Throw featuring founder Peanut Butter Wolf, J. Rocc and Egyptian Lover at the Brisbane Festival Aurora Spiegeltent on 8 September.

‘Get What You Want’ also features the harrowing manufacture of a K-Pop girl group in Nine Muses of Star Empire 2012, one man’s near-impossible mission to unite all nine members of the Wu-Tang Clan on stage for their last concert in Rock the Bells 2006, and Penelope Spheeris’ chaotic portrait of the early 1980s LA punk scene The Decline of Western Civilization 1981.

Presented in partnership with Brisbane Festival, ‘Get What You Want’ is a ticketed program at the Australian Cinémathèque at GOMA from 2 September to 2 October 2016. Cinema tickets are on sale now, adults $10.50, concession $8.50 and Gallery members $7.50. A five-film discount is available at the Cinémathèque Box Office.

Get What You Need with Music Cinema at GoMA
2 September – 2 October 2016
GOMA, Cinema A – Brisbane
www.qagoma.qld.gov.au

When Winehouse broke out in the early noughties, she really stood out. Here was a jazz singer that wrote incredibly personal lyrics, had great vocal chops and delivered them with a looseness that ran counter to a lot of jazz singer’s rigid professionalism. That she was a hot mess only added to the original appeal.

The film was made in the beginning with the family’s full approval but as the final cut came together their disapproval became pronounced and it’s easy to see why as her father is portrayed as poorly as any stage dad ever has. His narcissistic approach to his daughters crash course on cliché artist demise is infuriating. Yes Amy had a self-destructive streak but was there no one in her entourage that could provide counsel? Could no one help her see her humanity slipping away?

There is a line in the film that encapsulates this sorrow when Winehouse (clean at the time) states that in the midst of all the celebrations of her Grammy night success she finds it’s so boring without drugs. Some view talent as a curse, some as a saviour but with the draconian and profitable nature of talent of this level, it’s infuriating that this story gets told so often.

Rob Hudson
www.amy-movie.com