The Premiere (2026)

Watched by Matthew Donlan at Metro Theatre

Half of all American films made before 1950 are considered lost. When a film is made, it feels permanent. It captures reality at that time, presses it into film (or saves it to an SD card) and becomes available for repeat viewings. But celluloid fades, hard drives corrupt, and films disappear into the ether. Even today, media becomes ‘lost.’ Netflix took down its interactive Black Mirror experience, Bandersnatch, in 2025. Ironically, while writing this piece, I tried to research a film I remembered hearing about years ago which travelled around America. There was only one copy of it and would show at one theatre at a time. It would continue doing so until the reel disintegrated. But when I went to find any reference to this online, I failed (or more accurately the AI overview which Google forces me to use failed to comprehend my question). No mention of it on reddit, X or small websites dedicated to film. (If you know what film I might be thinking about here, please let me know).

I mention all this to turn your mind to the ephemerality of film. Film does not last forever. The experience of watching a film only lasts as long as its runtime, and then it quickly evolves into memory. So much of that experience is determined by subjective factors; the environment you watched it, the mood you were in, how hungry you were. But, at least for most new productions, there may be a chance to see the film again to verify your memory.

That is not the case for The Premiere.

The Premiere is ephemeral film taken to its most immediate. For three nights in a small room of the Metro Theatre during the Sydney Comedy Festival, a group of improvisers created a film on stage, walked us through the making of, and premiered it to the audience. Two camera people roved between the actors on stage, and their feed was broadcast to a television screen for the audience to enjoy. While Kip Williams adds an air of seriousness to cine-theatre at the STC, The Premiere remembers to have fun with innovative spontaneity.

I attended Friday night’s premiere, David’s Last Hurrah, which came from a suggestion from the audience. To mark Sir David Attenborough’s 100^th birthday that same day, the audience found it fitting to send the great conservationist to the lions, literally. This film was to be a recount of Sir David’s voluntary death at the hands of Siegfried and Roy’s untamed beasts. But the audience were rewarded to more than just the gruesome money shot. We learnt of the devil’s penchant for Sir David, Sir David’s penchant for costume designers and costume designers’ penchant for buttons. 

The experience was a choose-your-own-adventure for everyone involved. While the actors are building the narrative in front of the audience, and the camera people are discovering shots in those scenes, the audience flicker their gaze from stage to screen. The presence of cameras at live events isn’t new (think about how many times you end up watching a screen at a concert of sporting match), but what is novel is its inclusion in the narrative construction. The actors play to the close up and the wide shot simultaneously with comedy found both within and outside the frame. It requires a dexterous audience to keep up with the quick-witted actors and fast live editing.

Talking to a few members of the team after the show, I asked if there was a desire to record the show. While it is available to log on Letterboxd, there is no way for it to be watched back. In the moment I considered that a missed opportunity but reflecting on it now, I think it’s the right decision. Improv theatre relies on the energy of the room. The tension of not knowing what will come next makes the payoffs more rewarding. The show is lightning in a bottle and can’t be packaged in the same way for home viewing.

The Premiere is a unique and exciting blend of cinema and theatre. The ephemerality of it all makes it special. It invites the audience behind the curtain but instead of breaking the illusion, the magic grows.

Pick of the Week

This week, make sure you head down to Leichhardt Town Hall on Saturday for a celebration of locally-made short films! Enjoy the Young Creatives showcase, the Queer Screen package, and hear from local filmmakers on the challenges of making shorts in Australia. The best thing is the whole day is free!

New Releases

• Life Could Be A Dream (Jasmin Taylor) AUS
• A Private Life (Rebecca Zlotowski)
• Mother Mary (David Lowery)
• Obsession (Curry Barker)
• Pike River (Robert Sarkies)