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Choose from tree houses, reef houses and beach houses at Amilla Fushi resort, Maldives

Amilla dive master, Ayya. Photo: Louise Southerden Amilla Fushi Tree Houses.
Nanjing Night Net

Ocean Reef House. Photo: Supplied

Treehouse pool and deck. Photo: Louise Southerden

Baazaar Bar. Photo: Dean Bentick

“Welcome home.” These are the first words I hear as I step ashore at Amilla Fushi, which is strange because it’s my first time in the Maldives and  the resort had opened only a few months earlier, in March last year. Perhaps the waiter handing me my welcome drink – a deliciously sweet concoction of coconut water flavoured with cinnamon and star anise – has me confused with another guest.

But I find this is part of the ethos that infuses Amilla Fushi, which means “my island home” in Dhivehi​, the official language of the Maldives.

“There are 112 resorts in the Maldives. Our mission is to be a little different,” says Mark Hehir, the Australian chief executive officer of The Small Maldives Island Co, which conceived and manages Amilla.

“We want the resort to be less hotel-like and to have a more residential vibe, to give guests an emotional connection so they feel this is their island home away from home.”

That explains why the 67 contemporary-style villas are called houses (and room service is “home delivery”). There are beach houses, over-water reef houses, two-storey beachfront “residences” with four to eight bedrooms each, even treehouses, the first in the Maldives.

I’ve stayed in a few treehouses, but as I climb the timber stairs to my two-bedroom apartment on 12-metre concrete stilts, this one strikes me as less Swiss Family Robinson and more War of the Worlds. It’s impressive just from an engineering perspective: 220 square metres plus plunge pool and timber deck at palm-tree height, floating in a sea of greenery.

Inside, it’s fashionably kitted out like a high-end holiday house at Byron Bay, with a few innovative touches. An iPad mini allows guests to explore the resort’s offerings, make dinner and spa reservations, read newspapers and magazines from around the world, and check flight details and the weather. (The novelty wears off when I forget to put the iPad back on its charging station and it dies, leaving me without so much as a resort map to refer to.)

In addition to the inevitable pod coffee maker, there’s a tea machine with pods of jasmine, Earl Grey and English Breakfast leaf teas. It’s nice to see Australian-made Aesop toiletries in the bathrooms, in large pump bottles to reduce plastic waste. Other thoughtful touches are sunscreen and insect repellent in the minibar and a USB charging port in my bedhead.

It’s all very Steve Jobs, right down to the T-shirted staff wearing surfboard-shaped wooden pendants instead of name tags – including Mujay, my “katheeb” (literally “island chief”, but it means butler here).

Amilla even has its own time zone. Since October it has been two hours ahead of Male, the capital, not just one hour like some other resorts. All the better to stay up late, sleep in the next morning, lounge by the pool (one of the largest in the Maldives, at 62 metres), have a full day of aquatic activities – and still make it to sunset drinks.

That’s another difference between Amilla and other Maldivian resorts: the focus is not on romance and a castaway experience but on getting together with friends or in family groups for great food and good times.

To this end, there are several resort restaurants – each relaxed and unfussy (many have sand floors for barefoot dining) and also equipped with iPad minis (printed menus are so five seconds ago).

There’s the Fish & Chip Shop (another Maldivian first), Baazaar Bar (the spelling is a reference to Amilla’s location in Baa Atoll, a UNESCO biosphere reserve), Wok, Grill, Joe’s Pizza and Fresh. There’s a gourmet deli, gelateria and cafe called Emperor General Store, and a Wine Shop that operates as a cellar door.

Then there’s Lonu by Luke Mangan at the far end of the jetty (lonu means salt in Dhivehi, in keeping with Mangan’s Salt restaurants). Open to the sea breeze that swings the lampshades and lapping waves that provide the soundtrack, it has an open kitchen to encourage interaction between the chefs and diners. Upstairs is the open-air Sunset Bar, one of the best spots on the island for a cocktail when the Indian Ocean slips out of its turquoise daywear to mirror the evening sky’s pinks and mauves.

Of course, Amilla’s marine environment is another drawcard. The resort is 10 minutes by speedboat from manta ray and whale shark hot spot Hanifaru Bay, for one thing, and has world-class diving at its doorstep, run by scuba operator Dive Butler International.

Even at the spa, there’s a sense of place: the airy reception area is right on the beach, there’s an over-sea yoga deck, the 10 couples treatment “pods” are scattered around an enormous banyan tree and the sand-floored tea lounge “chill out zone” is just metres from the water.

But wait, there’s more. The Small Maldives Island Co will open a second property, Finolhu, in June, and four more within three years, each with its own vibe and for different budgets. Boats will shuttle between them so guests will be able to, say, dine on one island and charge it to their villas on another.

Too soon, it’s time to leave – in style. The pilot of our Trans Maldivian Airways seaplane might be wearing shorts and thongs, but his pressed white shirt and Aviator sunglasses are all business. As the twin props whir to life and the staff waving goodbye from the pontoon shrink from view, I see the bigger picture: Amilla and its sister-resorts are raising the bar for resorts all over the Maldives, whose gem-like atolls may never be the same again. TRIP NOTESMORE INFORMATION

See visitmaldives南京夜网/en  GETTING THERE

Singapore Airlines flies from Sydney to Male via Singapore with same-day connections daily (singaporeair南京夜网).

Amilla Fushi is 30 minutes by seaplane from Male (transmaldivian南京夜网).  Or take a short domestic flight to nearby Dharavandhoo Island and a 10-minute speedboat transfer to Amilla Fushi.  STAYING THERE

Houses start at $1760 a night including breakfast and Wi-Fi. See amilla.mv.

Louise Southerden travelled as a guest of Maldives Marketing and Public Relations Corporation, Singapore Airlines and Amilla Fushi Maldives.

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Defence white paper: new submarine fleet to cost taxpayers $150 billion

Defence Minister Marise Payne at Parliament House on Thursday. Photo: Alex Ellinghausen The new Defence strategy includes a substantial boost to the number of people in the armed forces. Photo: Glenn Campbell
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Prime Minister Malcolm Turnbull launches the Defence white paper. Photo: Andrew Meares

Defence Minister Marise Payne announces a major increase in the Defence budget. Photo: Andrew Meares

Australia faces ‘broader range of threats’ than ever beforeDefence spending boost will take spending to $1 trillion

Australia’s new fleet of 12 submarines will cost at least $50 billion just to build, the Turnbull government’s Defence white paper has revealed – at stark odds with public claims by shipbuilders that they can be constructed at a fraction of that price.

The price tag of more than $4 billion per boat is spread over the next 30 years, but it does not include lifetime maintenance of the submarine fleet, which is likely to be at least that much again and perhaps twice as much, bringing the total of the program to a staggering $150 billion.

The white paper, released on Thursday, outlines Australia’s plans to defend itself for the next 20 years.

On submarines, the white paper commits to a “rolling acquisition”, which means that by the time the final boat is built, the first one will be ready to retire, creating a continuous build indefinitely.

While shipbuilders bidding to construct the submarine fleet have put the cost as low as $20 billion or less, the white paper states clearly that Defence estimates the cost of designing and constructing the fleet alone – not including sustainment – will be at least $50 billion.

Concerns about future threats of cyber attacks has been dramatically underscored by the white paper’s announcement that there will be 800 new personnel committed to cyber defence and a further $300 million on cyber hardware.

And the regional instability sparked by China’s rise features strongly in the government’s thinking, with the white paper noting that “as China grows, it will continue to seek greater influence within the region”.

Australia calls on China to provide “reassurance to its neighbours by being more transparent about its defence policies”.

Critically, the government has promised not to cut any of its promised $30 billion boost to defence no matter what happens to economic growth.

The government will meet its pledge to spend 2 per cent of GDP on defence by the 2020-21 financial year – three years earlier than promised. But now that the white paper is locked in, it will be “decoupled” from GDP growth, meaning money won’t be cut even if GDP forecasts are scaled back.

The white paper reveals the government will also significantly boost its maritime surveillance capabilities, buying an additional seven P-8 surveillance planes on top of the eight already announced, and purchasing seven Triton surveillance drones.

The white paper also commits the government to boosting the ADF’s uniformed personnel by 2500 above current plans.

The change will increase the permanent force to its largest size since 1993.

Prime Minister Malcolm Turnbull said the white paper was a plan to “become more powerful on land and in the skies and more commanding both on the seas and beneath them”.

“The government’s continuous build strategy for the Australian submarine industry recognises the long construction timelines for the new submarines,” he said.

“We will ensure the Australian submarine involvement is sustainable over the longer term by building a new force of 12 regionally superior submarines, doubling the size of our current fleet.”

The defence budget will rise from $32.4 billion this year to $58.7 billion in 2025-26.

Nine per cent of the $195 billion that will be spent over the next decade on defence capability projects will go towards hi-tech areas of intelligence, electronic warfare, space and cyber capabilities.

One quarter of the $195 billion will go to the navy, including initial work on the 12 new submarines, but also on building nine anti-submarine warfare frigates and 12 offshore patrol vessels.

It will also include land-based anti-ship missiles stationed in the country’s north.

A further quarter will be spent on “enablers” such as upgrades to bases, airfields and ports, improvements to information technology and new simulators and training facilities

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Credit card skimming scams overseas: Five tips to avoid getting caught out

Be diligent on who is around you when using your credit card. Photo: iStockDuring a recent visit to Singapore my debit card was skimmed and almost $500 extracted from my account. It’s a common enough occurrence but with a little more diligence on my part it might never have happened.
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I’d made three transactions using my Citibank Visa debit card. The first was at the rooftop bar of the Marina Bay Sands where I paid for cocktails. The barman took my card away and came back a minute later with a keypad asking me to key in my PIN number. The other two transactions were at Singapore Airport next morning, where I used the same card to pay for purchases at a chemist shop and also a coffee bar. I’d normally pay cash for these small buys but I’d just used the last of my Singapore currency to pay for a taxi to the airport.

At one of these three transactions my card details were skimmed. Skimmers are card readers that harvest the data from the card’s magnetic stripe. They can either be incorporated into an existing legitimate card reader or a separate device that a salesperson will use to swipe the card a second time out of sight of the cardholder.

The other vital ingredient is your PIN, obtained by a hidden camera, by inserting a pressure sensitive pad beneath the keypad or by a careful pair of eyes. In my case, I keyed in my PIN while the keypad was resting on the counter, and the cashier could have seen me doing it.

Slightly more paranoia-inducing, a fraudster with a FLIR ONE Thermal Imager equipped smartphone can capture the thermal signature that your fingers leave behind on a keypad. All the PIN thief has to do is hover their FLIR ONE equipped smartphone over the keypad on which you’ve just tapped your PIN and bingo – the thermal image reveals which numbers you pressed. Not only are the numbers revealed but the different colours on the image show the order in which they were pressed. The device can be bought for about $400 in Australia, about $100 less on Amazon.

A thief only has to download the information collected from the skimmer and imprint that onto a fake card, key in your PIN and visit an ATM or pay for merchandise and your account says “hello friend” and pops open like a jack-in-the-box.

After Singapore I departed on a cruise and it was only a few weeks later, back in Sydney when a withdrawal was declined that I realised things were not right. I checked my account online and there were four unauthorised withdrawals at the Hotel Ibis Menteng in Jakarta. The first was for $49.44, followed by three more for $148.31 each, all on the same day. At the end of that spree my available funds had shrunk to just $29.08.

I’d become a contributing member of a US$16 billion dollar global industry. That’s the figure for worldwide credit card fraud in 2014, the most recent available figures, and more than BHP’s net profit for the same year.

When I reported the theft to Citibank at the end of December I was told it could take up to two months to reach a verdict. Less than two weeks later all the missing funds were restored to my account.

Wherever my card was skimmed it probably required help from the inside. The thief needs to get hold of the information and that usually requires someone to physically collect the data. What happens is the person at the point-of-sale is paid a commission, typically between $10-50, for every card skimmed. There are also skimming devices with wireless capabilities. Once installed, the crook can retrieve the information on a smartphone from a couple of hundred metres away.

The newer technology chip and PIN cards are more secure but these cards also have a magnetic stripe to make them backwards compatible with older-tech systems that can’t read the chip. If you’re asked to swipe a chip-and-PIN card through a reader you’re cancelling out any security advantage that the card offers.

It’s a wake-up call, and I won’t be quite such an easy mark in future. There are five simple protocols I’m adopting anytime any card leaves my wallet.

1. Never again will I allow anyone to walk away with my card.

2. Most of us have learned to cover the keypad with one hand when we punch in our PIN at an ATM. We’re much less likely to do that when we do the same in a restaurant, a shop or a bar. I’m now covering up whenever I tap in my PIN.

3. I’m going to be a lot more diligent about who might be around when I use my card.

4. When I enter my PIN I’m also going to rest my fingers on random keys , leaving behind a scrambled heat signature for any scammer who might be using a thermal imaging device.

5. I’m limiting the debit and credit transactions I make overseas to major purchases only. From now on, cash is king.

See also: The 25 most common travel mistakes and how to avoid them

See also: The best way to access your money overseas

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Kanye West’s latest rant: Taylor Swift ‘f–ked it up’ and is ‘not cool’

Kim Kardashian releases first photo of son Saint WestKanye West’s embarrassing misspelling and Zuckerberg’s $1 billion response
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Kanye West just cannot leave well enough alone. The rapper-turned-fashion designer has hit out yet again at Taylor Swift in another lengthy harangue.

This time it was the crowd at Los Angeles’ 1OAK club on Tuesday night that had to listen to the 38-year-old’s latest rant where he made reference to the 26-year-old’s reaction to his song Famous in which he raps, “I feel like me and Taylor might have sex. I made that b**ch famous.”

“I called Taylor, I played her [Famous from his album The Life of Pablo] … I told her, ‘Look Taylor, I talked to my wife about it, and I said how do you feel about this line, Taylor?” West said.

“I was like, ‘Taylor I feel like me and you might set ourselves’ and she said, ‘Ooo, Kanye, I like that line,'” he continued.

“Here she was, her lawyer says something completely different. She’s not cool no more, she had two seconds to be cool and she fu**ed it up.”

(Sidenote: While Kanye was being Kanye in the club, old flames Kourtney Kardashian and Scott Disick were looking cosy and enjoying themselves. Good for them.)

West and Swift went to battle after he debuted his track at his Yeezy Season 3 show at New York Fashion Week two weeks ago that references the time he stormed the stage to protest her 2009 MTV Video Music Awards win – saying Beyonce was more deserving of it.

The Bad Blood singer has denied that she signed off on Ye’s controversial lyric and used her acceptance speech for Grammys Album of the Year last week to hit back in a not-so-subtle jibe:

“As the first woman to win Album of the Year at the Grammys twice, I will say to all of the young women out there, there are going to be people along the way who will try to undercut your success, or take credit for your accomplishments or your fame.”

Fingers where?

Swift was not the only one who was targeted by the father of two during his diatribe.

Although his wife Kim Kardashian West mended relations after an earlier Twitter attack against his ex-girlfriend Amber Rose and her ex-husband Wiz Khalifa, West decided to reignite that rift too.    Tea anyone?A photo posted by Kim Kardashian West (@kimkardashian) on Feb 2, 2016 at 1:45am PST

Speaking about Rose’s NSFW tweet in which she claims she used to “play in his a–hole” and added the hashtag “fingers in the booty a– b–ch”, he retorted: “That b–ch don’t never stick her fingers in my a–. I don’t play like that.”

So now you know.

No one is safe

Never one to hold back, West also took aim at rock producer, Bob Ezrin, who strayed from the idea that West is the greatest and so is his album, The Life of Pablo.

The Canadian producer and keyboardist, best known for his work with Lou Reed, Alice Cooper, Kiss, Pink Floyd, Peter Gabriel and Phish, wrote a “scathing review” of the album in a newsletter for Lefsetz.

“Unlike other creators in his genre like Jay-Z, Tupac, Biggie or even M.C. Hammer, it’s unlikely that we’ll be quoting too many of Kanye’s songs 20 years from now. He didn’t open up new avenues of public discourse like NWA, or introduce the world to a new art form like Grandmaster Flash, or even meaningfully and memorably address social issues through his music like Marshall, Macklemore and Kendrick,” Ezrin wrote.   A photo posted by Kim Kardashian West (@kimkardashian) on Feb 21, 2016 at 8:34pm PST

He added:  “He’s like that flasher who interrupts a critical game by running naked across the field. Is that art???” and that his songwriting is “is sophomoric at best”.

Well West is mad at Ezrin’s comments to say the very least and wrote to his 19.5 million followers: “Has anybody ever heard of Bob Ezrin???… What the fuck does he know about rap… Do something relevant… Please don’t speak on me bro ever again!!!”

West also spoke about Ezrin’s children adding: “Your kids are ashamed of their dad… Sorry for speaking about kids… but could you imagine if you were Bob Ezrin’s kids… I’m so sorry for them… I will send them free Yeezys to make up for the embarrassment that you have caused your family!”

Then to finish he took another shot at Swift and the Grammys:

“I made Dark Fantasy and Watch the Throne in one year and wasn’t nominated for either and you know who has two albums of the year,” he tweeted before adding: “Welcome to pop culture!!!”

Until next time… Has anybody ever heard of Bob Ezrin???— KANYE WEST (@kanyewest) February 24, 2016What the fuck does he know about rap…— KANYE WEST (@kanyewest) February 24, 2016Your kids are ashamed of their dad… Sorry for speaking about kids… but could you imagine if you were Bob Ezrin’s kids…— KANYE WEST (@kanyewest) February 24, 2016Ezrin I truly feel sorry for your friends and family that they have had to suffer an idiot like you for so many years…— KANYE WEST (@kanyewest) February 24, 2016I made Dark Fantasy and Watch the Throne in one year and wasn’t nominated for either and you know who has 2 albums of the year.— KANYE WEST (@kanyewest) February 24, 2016

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Fifty years of ANU film culture

ANU Film Group members, from left, Brett Yeats, secretary Andrew Wellington and President Adrian Ma, in the Coombs Theatre. Photo: Elesa Kurtz Malcolm McDowell in Stanley Kubrick’s film “A Clockwork Orange”, the second-most screened film by ANU Film Group. Photo: Supplied
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The ANU Film Group’s most programmed film is “Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964) starring Peter Sellers. Photo: Supplied

ANU Film Group members Brett Yeats and president Adrian Ma, in the projection room. Photo: Elesa Kurtz

The ANU Film Group’s 50th anniversary.

Membership is $40 a semester or $70 for a full year online or at the Coombs Lecture Theatre, ANU, before a screening. anufg.org419论坛.

In 1966, being a dedicated film buff wasn’t easy. With no internet, DVDS or VCRs and few television channels, if you wanted to see a movie, you were pretty much limited to whatever was playing in your local cinema.

But for those who were enterprising and well located, there was another possibility: the film group. Canberra film identity Andrew Pike – former operator of Electric Shadows, founder of Ronin Films, film historian and advocate – was one of a small group of Australian National University Film students who formed the ANU Film Group in 1966.

Although it’s changed a lot over the years, the group is still going strong today, shows dozens of films each year and is open for public membership – in fact, unlike the old days, nowdays non-student members far outnumber students.

It will celebrate its 50th anniversary with a birthday party screening on Sunday, February 28, in its long-time home in the Coombs Theatre, at the corner of Fellows and Garran Roads, Acton (in ANU).

The group screened 37 films in its first year. The first – on Monday, February 28, 1966 – was the 1962 Peter Sellers comedy Only Two Can Play, but to mark the 50th anniversary the group will have the 16th screening of its most popular film, the second film screened in 1966. It’s another comedy starring Sellers: Dr Strangelove, or: How I Learned To Stop Worrying and Love the Bomb (1964).

In 1966, Pike was studying history and English literature.”There was no film studies then; that was as close as I could get to the things I liked,” he says. With a few other dedicated souls, he started setting up screenings with 16mm projectors borrowed from the university visual aids unit and lugged around the campus, often on foot –”Not all of us had cars.” – as they taught themselves how to operate it.

The original home base was the Physics Lecture Theatre; in 1969, the group moved to the Coombs Lecture Theatre, where it has remained.

In the early days, he says, the society was seen as a place to be exposed to cinema beyond what was on offer on the commercial screens.

“If we got films from commercial sources it was to look at them in a different way. Psycho was one worth screening again – it’s a fantastic film.”

He remembers that at the screening of that Hitchcock classic, “the projectionist was so rapt in the film he didn’t realise there was a reel change coming up and suddenly at a certain point in the film the screen went dark and we heard the end of the reel flapping up … we heard, ‘Oh shit!’ “.

The projectionist had to hurry back and change the reel so the film could continue.

Such a popular film would help to fill the coffers if money was running low – things were run pretty informally in the early days, Pike says – but on the whole the founding members sought alternatives to the mainstream fare being presented in cinemas.

“We got films from various sources, including commercial sources, but our most interesting source of supply was the embassies. We dealt a lot with the Canadian High Commission in Sydney; we sourced a lot of films from them, mainly documentaries. There were some very exciting things being done in non-feature films: animation, experimental films, documentary.”

The French embassy, too, was an excellent source: “There were hundreds of titles, old and new, and the person in charge of non-commercial screenings was a wonderful woman named Helene Anderson who became our godmother supplier.”

Local films weren’t neglected, either.

“We ran a lot of Australian films when we could get [them] – in the 1960s, before the birth of government subsidies, the typical Australian film was ‘underground’ – self-funded and distributed.”

The group showed films such as the experimental Marinetti (1969) by Albie Thoms and ran and repeated them frequently. And these stimulated action.

“We all started making films under the inspiration of the underground films,” Pike says. “It was a very all-consuming culture.”

The ANU had a creative fellowship that in 1969 brought husband and wife filmmakers Arthur and Corinne Cantrill to the university.

“They were here for three or four years,” Pike says. “We would show their work at ANU Film Group.”

They ran workshops and experimental film events and contributed, Pike says, to an “extraordinary” film culture at the university.

“The ANU Film Group was at the centre of it all.”

Although his links with the group loosened for many years after he left university in the early 1970s to work at the Center Cinema – the start of a distinguished career in the Australian film industry – he remembers his time there fondly and has a life membership with the group.

“The 1960s were a very exciting time for world cinema.”

The ANU Film Group continued to develop over the following decades. In 1976, a decade after it began, it screened more than 150 feature films.

By the mid-1970s, it had acquired second-hand 35mm projectors – later replaced by new ones – and Super 8 equipment, and despite the advent of home video in the 1980s, falling membership and a decrease in funds, the group survived.

In 1990, with the help of the university, a new Dolby Stereo system was installed in the Coombs Theatre andaccounting and record-keeping practises were improved. The sound system was upgraded in 1996 to a new Dolby Digital six-track sound processor, the first in Australia, with new speakers and acoustic panelling, and in 1997 a bigger screen was installed and projectors were upgraded.

Digital projection was adopted in 2014 and, again with university assistance, a new digital projector and server were purchased at a cost of over $100,000 (the first digital screening was Frozen). The theatre doesn’t have 3D projection: the group would have to pay a licensing fee for each screening and the demand is not sufficient to make it worthwhile.

The group has a membership of about 1500 and the cinema can hold 371 people. Obviously all the members can’t come to every session, but if there’s sufficient demand, films may be rescreened.

The current 20 committee members – all volunteers, although the projectionists are paid professionals employed casually – include the president, Adrian Ma, who’s been on the committee for almost eight years, vice-president Tamara Cain, secretary Andrew Wellington and treasurer Xin Yi Tan.

Ma says, “A lot of people devote a lot of their time to it … there are people who have been on the committee for more than 20 years.”

He says the culture of movie-going has changed over time and the society has changed with it.

“There’s a lot of emphasis on home entertainment, phones, iPads, many ways of watching movies, but it’s important to keep the community sense of cinema alive, that thrill of watching movies on a screen with other people.”

While the committee now selects movies for each year’s program, it does poll members for their choices.

Many of the same movies come up repeatedly as requests – The Princess Bride, for example – but screenings of such older movies are not always well attended and, with a mix of mainstream and arthouse cinemas in Canberra showing “retro” programs as well as current movies, the group tries to look ahead to what will be available in the coming year and likely to be popular, as well as cater to requests for older and more unusual fare.

The group retains ties with local filmmakers, too: among its activities this year are Q&A screenings with Canberra directors (see events). And they are always on the lookout for ideas for theme nights and other ways to make screenings special.

“The more ideas we can get, the better. People who have special events in mind, people who are in touch with directors – we’re all ears.”

ANU Film Group Semester One 50th Anniversary Events.

1. 50th Anniversary Birthday Party: Sunday, February 28, at 6pm.

To mark the group’s first recorded screening 50 years ago, a screening of Dr Strangelove, the group’s most screened film and the second film screened in the 1966 program.

2. Oscars on the Big Screen: Monday, February 29, at 7.30pm.

Watch the 88th Academy Awards on the big screen to find out how many prizes Mad Max: Fury Road takes home and see whether Leonardo DiCaprio finally wins a best actor Oscar.

3. Star Wars: The Force Awakens Dress Up screening.

On March 10 at 7.30pm, get in the spirit of the Force by dressing up as your favourite Star Wars character.

4. Back to the Film Group Anniversary Screenings

One film from each decade that’s celebrating a special anniversary this year (to be continued in Semester Two).

March 17, at 7.30pm: Batman: The Movie (1966)

April 21, at 7.30pm: Rocky (1976)

May 26, at 7.30pm: Crocodile Dundee (1986)

5. Filmmaker Q&A screenings

April 16, at 7pm: Me and My Mates Vs. the Zombie Apocalypse. Followed by a Q&A with writer/director Declan Shrubb and guests.

May 21 at 7pm: Sherpa. Followed by a Q&A with director Jennifer Peedom.

ANU Film Group’s most screened films (as of 2015):

15 times – Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964)  – 16 times on Sunday.

11 times – A Clockwork Orange (1971)

10 times – 2001: A Space Odyssey (1968)

10 times – Casablanca (1942)

10 times – Citizen Kane (1941)

9 times – Some Like It Hot (1959)

8 times – Taxi Driver (1976)

8 times – If… (1968)

8 times – Lawrence of Arabia (1962)

8 times – Metropolis (1927)

8 times – North By Northwest (1959)

7 times – Alien (1979)

7 times – Blade Runner (1982)

7 times – Picnic at Hanging Rock (1975)

7 times – Psycho (1960)

7 times – The Rocky Horror Picture Show (1975)

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