6th Festival 1959

The festival moved back to June, greatly expanded its duration from four days to 17, and moved outside the University grounds for the first time into the ANZAC House auditorium (the Union Hall, the Teachers College, the Annexe and the Wallace at the University were all retained). Twenty-two features were presented: Akira Kurosawa’s Throne of Blood, Kon Ichikawa’s Harp of Burma, Luis Buñuel’s Mexican-made Los Olvidados, Sergei Eisenstein’s newly released Ivan the Terrible Part II, Jiri Weiss’ The Wolf Trap (Czechoslovakia), Helmut Kautner’s The Captain from Koepenick (West Germany), Rolf Thiele’s The Girl Rosemarie (West Germany), Michael Cacoyannis’ A Matter of Dignity (Greece), Georgy Revesz’s At Midnight and Zoltan Fabri’s Anna (both Hungary),Yamamato’s The Scarlet Cloak (Japan), Skouen’s Nine Lives (Norway), Avellana’s Badjao (The Philippines), Tressler’s Terminus Love (West Germany), Konrad Wolf’s Lissy (East Germany), Tadeusz Chmielewski’s No Place for Eva to Sleep (Poland), Juan Bardem’s Calle Meyor (Spain), V. Pogacic’s Fugitive in Belgrade (Yugoslavia), Kolijanov’s and Segal’s The House Where I Live (USSR) and the American compilation film The Golden Age of Comedy. The short films screened included early work from iconic directors Ken Russell (Amelia and the Angel) and Roman Polanski (Two Men and a Wardrobe). Master documentarian Joris Ivens’ The Seine Meets Paris was screened; other shorts included two by John Hubley, Harlem Wednesday and The Tender Game; Norman McLaren’s Le merle; Anthony Simmons’ Sunday by the Sea; Home by the Polish animators Walerian Borowczyk and Jan Lenica; Vatroslav Mimica’s Alone; and from Israel, Songs Without Words by future Australian citizen and master animator Yoram Gross.