Bulleke-Bek Brunswick Cinema

03/08/2026

Shared from Instagram (www.instagram.com/gallerygalleryinc). To keep up with what's new at the gallery till the BBBC returns, you can also check gallerygalleryinc.com, as well as Gallerygallery INC here on Facebook.

25/07/2026

It's going to be hard for us to top last night's screening of Woman In the Moon, accompanied by the magnificent Factory House Band (Oscar France, Oliver Ledi Hanane and Mick Power).So for now we're not going to try. But while BBBC screenings are on pause till 2027, we plan to keep working in the meantime on our in-house serial The Show Of the Year, following the premiere of the first episode last night (the poster was designed by Tien Quan Le). This is a collective project entirely dependent on volunteer enthusiasm, so if you'd like to get involved in any capacity, email us at [email protected]. If you attended last night, we'd also love to hear your thoughts on the story so far -- again, you can email the address above, or else comment below. Massive thanks to the filmmakers whose work we've screened over the past couple of months, our special guests and helpers, and everyone who's come along. See you next time, if not sooner.

23/07/2026

Ahead of tonight’s screening of The Moderns, here’s part of an interview with director Alan Rudolph, published in Artforum in 1993 (full text at the link).

"ALAN RUDOLPH: I believe the whole process of art is evolutionary. People often say that they like my writing. But to me, writing is just like a choice of wallpapers. Like the choice of music for a film, the choice of words is just a part of the process of evolution. My scripts don’t describe anything, they just put people in situations and then move them on by giving them a dialogue—some of which is good and some of which gets better when the actors embellish it. There’s a very good quote about screenwriters: 'A screenwriter is the first draft of a human being.'
But for me, screenwriting is just like signing a check, in a way. All it is is your signature. But if someone says sign a check for $50,000, you’re going to be a little more selective. You’re going to write something, which you are then going to make and spend the rest of your life justifying. So all you have to do is set the standard.

ROSETTA BROOKS: Right. And art, in a way, is about setting the standards, then pushing them to the edge, to their limits.

ALAN RUDOLPH: I think we did that with my movie The Moderns, and it infuriated most of the art world who saw it. I’m always completely written off by the New York critics scene, but I think people were especially furious about that movie, because it turns everything inside out: it’s about counterfeit society and about the myths of Paris in the ’20s. Most people think of the ’20s as the heyday of Modern art. But that’s just when the tourists arrived in Paris and started to spread the word about it. So the film takes all that on.”

ALAN RUDOLPH'S TERRAIN is the shadowland of the psyche, the place where our pathologies find a home—where our obsessions, paranoias, fears, and fetishes ferment and fertilize one another. On the…

20/07/2026

ADDITIONAL ANNOUNCEMENT! Our closing night feature attraction Woman In the Moon will be preceded by episode one of The Show Of the Year, an in-house, on-site, zero-budget serial conceived, shot and edited over the past few weeks by an all-volunteer team here at the BBBC. If you'd like to be part of the journey, here's where we take off.

17/07/2026

There's just over a week to go before the BBBC is all packed up for the year, but we're not done yet. Tonight at 7.15pm is Contemporary Vietnamese Films: Landscape And the Human Condition, followed at 2.15pm tomorrow by our Saturday matinee session of the classic Esther Williams musical Dangerous When Wet (families welcome). Look out for an announcement on the details of closing night, coming very shortly.

13/07/2026

Updated program! Our closing night film for 2026 has now been confirmed as Woman In the Moon (Fritz Lang, 1929) with live improvised score by Factory House Band, returning for the sixth (!) year in a row.

11/07/2026

We're shooting a film this afternoon around the cinema/gallery (Saturday 11th) but still need more people to appear on camera -- if this could be you, DM us right away.

07/07/2026

"Yes: No Exit [Huis-Clos] is a moral play. It is a play of character according to Aristotle’s definition: 'Character is that which reveals moral purpose, showing what kind of things a man chooses or avoids.' It shows what kind of things three people chose and avoided to earn for themselves eternal damnation. It shows what kind of things they continue to choose and avoid even in hell. What is hell? It is to be a botched character and to be forever imprisoned with other botched characters. When one of Sartre’s people complains that the eternal penal colony lacks a hangman, another replies: 'They’ve done it to economise on personnel, that’s all. It’s the customers who serve themselves as in cafeterias... each one of us is the hangman for the two others.' Sartre solves his triangular problem with great skill. The action speeds up, slows down, turns, twists back on itself, as each of the three plots anxiously in his own interest."

-- Eric Bentley, The Playwright as Thinker

Friday 10 July, 7.15pm. Introduced by the BBBC's Philippa Hawker.

06/07/2026

Ahead of Thursday's screening of new films by Graham Osborne and Colin Hodson, here's a video of a Q&A with both filmmakers following an earlier double bill of their work, hosted by the Thornbury Picture House in 2024 and organised by our friends at Unknown Pleasures: Australian independent cinema.

Q&A at the screening of the films .ON. and THE KIDNAPPERS @ Thornbu...