In Proof (Jocelyn Moorhouse 1991), the photographs of blind central protagonist, Martin, construct multiple Melbournes. Martin’s compulsive photography is a product of a dysfunctional relationship with his mother and becomes his primary mechanism to document and regulate his world. Through this process, Martin’s Melbourne exists as a fossil; the preserved remains of his memories. In contrast, Martin’s burgeoning friendship with Andy introduces a Melbourne that exceeds the fossil image. This Melbourne is captured in shared photographs that reflect the promise of community abundance; a promise connected with 1990s Melbourne live music culture. The soundtrack by Melbourne band, Not Drowning, Waving, significantly contributes to this heterotopic representation of Melbourne, and their distinct musical style further evokes a lived Melbourne from this period. Proof’s soundtrack here combines with recognisable chronotopes of the inner city to re-fossilise this Melbourne for the present-day spectator for whom, like the film’s characters, Melbourne was their lived experience.