For a quarter century, In the Mood for Love has remained one of cinema’s most romantic texts; it only makes sense that audiences swooned when Brisbane’s Gallery of Modern Art programmed the Wong Kar-wai film at its Australian Cinémathèque in late 2025. Two sessions in the venue’s 220-seat main cinema sold out swiftly. A third session was added at short notice on a night the 20-year-old site isn’t usually open, and neared capacity, teeming with eager viewers.
And not just classic cinephiles, either. The film, says Amanda Slack-Smith, Australian Cinémathèque’s longstanding curatorial manager, “got out to a lot of communities. We’re seeing a lot of intergenerational families coming in – older parents with their 50-year-old kids, and they’re bringing their kids.”
View image in fullscreen Two sessions of In the Mood for Love sold out at Brisbane’s Gallery of Modern Art – and a third was added at short notice in their Maggie Cheung film season. Photograph: TCD/Prod.DB/Alamy
Pioneered in Paris in the 1930s as a means to preserve celluloid archives, the cinematheque champions movies as
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