Cinema & Bar in historic Paramount House, Surry Hills. We operate on Gadigal country. Showing cults, classics, creepies, cheapies and the best new releases.
Open Mon-Fri 5pm-late,
Sat-Sun 12pm-late.…
We’re excited to welcome two new restorations to the Golden Screen this week.
For Vivid Sydney 2025 we’re stepping into the mind of Greek avant-garde cinema pioneer Antoinetta Angelidi, presenting all four of her surreal, dream-like, hypnotic feature films for the first time in Australia over four unforgettable nights: The Hours: A Square Film (1995), Topos (1985), Idées Fixes/Dies Irae (1977) and Thief or Reality (2001). This is cinema as a waking dream, where narrative structures fracture and reassemble, challenging the viewer's perception of time, space and self.
Take the maternal figure in your life to Golden Age this Mother’s Day, Sunday 11 May, as we celebrate a spectrum of motherly love across five wonderful films.
We’re teaming up with LA Tourism and Urban List as part of their Hollywood Quarter takeover, featuring four of our favourite movies that explore the glamour and mystery of Hollywood. Big dreams, big egos and hard reality checks, plus some of the most iconic images of the City of Angels.
We're cutting loose and warming up this winter with some of our favourite powerful performances and searing images, featuring work…
Greek filmmaker Antoinetta Angelidi is a pioneer of avant-garde cinema, known for weaving memory, surreal imagery and dream-like sequences into…
We're teaming up with LA Tourism and Urban List as part of their Hollywood Quarter takeover, featuring four of our…
Welcome to the Golden Age film school where we’ll be running you through a series of must-see masterpieces from some…
Our collective memory of 1980s cinema has been skewed by the studio-driven high concept films and endless sequels that dominated…
Take the maternal figure in your life to Golden Age this Mother’s Day, Sunday 11 May, as we celebrate a…
Screening at Golden Age tonight,
Thursday 12 June at 7:30pm
A sultry, neon-lit reworking of The Blue Angel, Rainer Werner Fassbinder's Lola uses the heightened visual language of Sirk to unleash a scathing comedy of morality.
Part of Fassbinder's BRD Trilogy (Bundesrepublik Deutschland) set in the turbulence of postwar , Lola uses the lens of the so-called "economic miracle" and rapid reconstruction to examine the transactional, exploitative tendency of desire. Highly exaggerated era-appropriate visuals combined with a broad narrative style…
Class, race, sexuality and soap: My Beautiful Laundrette is a landmark of queer cinema, bringing a touch of colour and sensuality to Thatcher's drab Britannia.
Director Stephen Frears (High Fidelity) brings Hanif Kureishi’s biting, Oscar-nominated screenplay to vivid life, sketching an authentic-feeling portrait of 1980s London on the verge of gentrification. The frankness with which it handles racist attitudes towards diaspora Britons may be confronting, but it's also fascinating to see a film from nearly four decades ago handle a…
us this Tuesday for the vivid cult psychological horror phenomenon Jacob’s Ladder, a gnarly 90s addition to our Trust No One series.
In development for over a decade and at one point nearly starring Tom Hanks, this strange metaphysical horror with echoes of MKUltra was too much for major studios until director Adrian Lyne managed to find a production company that would allow him to execute his vision.
Lyne and cinematographer Jeffrey L. Kimball (a frequent Tony Scott collaborator)…
This Friday, our John Carpenter collection Synths of Darkness continues with the middle chapter of his apocalypse trilogy (followed up next week by its conclusion In the Mouth of Madness)
Oozing with a palpable atmosphere of dread, bolstered by a killer droning score, Prince of Darkness is a strange and deeply unsettling Carpenter chiller led with tremendous seriousness by Donald Pleasence (wonderfully channeling aspects of his Dr. Loomis from Halloween) and the effortlessly cool Victor Wong.
Combining science and mythic…
Shout out to Golden Age for being the first and only to show Angelidi’s films in Australia
Dream-like is most apt yet undersells the experience you have watching this film. It is as lucid and ephemeral as film can be. Sound and light are bridges between memories forgotten and remade
Intimate, uncategorisable, as delicate as a bird bone and sharp as a knife. The things Angelidi does with sound design in The Hours aren't as overtly audience-hostile as in Topos and the occasional step outside gives a reprieve from the oppressive interior world, so despite the strong subject matter I feel like this is actually a perfect place to start with her work.
Exquisite. The most visually magnificent film created within my lifetime.
The performances and tone shared by Pace and the young Catinca Untaru is so sweetly complex.
One of my very favourite films.
Presented a screening at Golden Age in triple bill alongside Carnage for Christmas (2024) and Female Trouble (1974) far nasty Christmas treat 🎄
With a great crowd, this has to be one of the scariest films.
Here’s my thoughts I put together for the intro:
Will never forget the first time I saw Black Christmas. Was very late at night on an old vhs, a tape that was just perfectly worn and crackled to enhance every grubby little scare. It was…
We're cutting loose and warming up this winter with some of our favourite powerful performances and searing images, featuring work from the greats of emotional cinema like Fassbinder, Almodovar, Douglas Sirk, Cassavetes, Ang Lee and much more.
Now showing.
Get tickets.