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	<title>Screen Machine &#187; MELBOURNE CINÉMATHÈQUE 2010: An Interview with Michael Koller</title>
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	<description>Long live the new flesh</description>
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		<title>MELBOURNE CINÉMATHÈQUE 2010: An Interview with Michael Koller</title>
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(Jacques Demy, right, with his wife Agnès Varda. A Demy retrospective will screen at the Melbourne Cinémathèque in April. Varda&#8217;s film &#8220;Daguerreotypes&#8221; screens on March 24.)
This Wednesday, February 10, the Melbourne Cinémathèque will begin its 2010 season with a screening of two films by Max Ophüls, at the Australian Centre for the Moving Image cinemas. The program for the year, which can be found at the Cinémathèque website and in paper form at ACMI and the other usual outlets, features a weekly program of international cinema running until December. As always, the Cinémathèque program will be a major fixture in Melbourne film culture for 2010. This week I spoke to Michael Koller, one of the Cinémathèque’s programmers, about the year ahead.

This year the Cinémathèque is running several retrospective programs on some familiar heavyweights of world cinema – Federico Fellini (in March), Jacques Demy (April), Akira Kurosawa (May) and Milos Forman (June) – alongside programs on experimental (“Figuring Landscapes,” in March-April) and documentary cinema (a retrospective on the films of Raymond Depardon, in October). I asked Michael about how this balance between different kinds of cinema is maintained across the year-long program. “We do try to achieve some sort of a balance,” he says, “between the more commercial or accessible portion of the program, [and] the new rising stars, as well as those forgotten in the race to go elsewhere. There is always a balance of the populist &#8211; Kurosawa, Fellini, Godard, Tarkovsky&#8230; But,” he is quick to point out, “one&#8230;]]></description>
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