News

Today, our friends at Janus Films announced that later this year they’ll tour The Film Foundation’s new 4K restoration of Ulmer’s 1945 film: Detour.

The film will play at TCM Fest on Thursday.

The Academy Film Archive and the Film Foundation Present New 4K Restoration of Edgar G. Ulmer’s Detour (1945)
 

Restoration to Premiere April 26, 2018 at the TCM Classic Film Festival Janus Films to Release Theatrically in Fall 2018
 

New York, NY. (April 25, 2018) – The Academy Film Archive and The Film Foundation, in collaboration with Cinémathèque Royale de Belgique, The Museum of Modern Art, and Cinémathèque Française, with funding from the George Lucas Family Foundation, have completed a new 4K digital restoration of Edgar G. Ulmer’s DETOUR (1945) that will premiere Thursday, April 26 at 7:45pm at the TCM Classic Film Festival in Hollywood. Audiences across the US will also be able to enjoy this seminal film noir when it is released theatrically by Janus Films in the fall.
 

Added to the National Film Registry in 1992, DETOUR is a quintessential example of distinctive filmmaking on a low-budget. Now the Academy Film Archive has carefully restored the film with sources from three different countries and an innovative use of 4K digital technology.
 

The film noir recounts events in the life of musician Al Roberts’ (Tom Neal) through an extended flashback. On his way to join his girlfriend Sue (Claudia Drake), in Los Angeles, he hitches a ride with con man Charles Haskell (Edmund MacDonald). When Haskell mysteriously dies, Al assumes his identity, believing he will be blamed for the death if he goes to the police. Al runs into a new set of troubles when he picks up a hitchhiker, Vera (Ann Savage), who discovers the truth and uses his lies against him.
 

“DETOUR, shot in 14 days by Edgar G. Ulmer for $100,000, is now an acknowledged milestone in American cinema. It’s a picture about bad luck, about being down and out, about thinking you’ve hit bottom and then realizing that it’s a longer way down than you thought. The style of the picture reflects the desperate situation of the characters,” said Martin Scorsese. “For many years, it was possible to see DETOUR only in copies mastered from extremely degraded 16mm prints. Which was okay, it seemed, because it was in keeping with the spirit of the picture. Then, in the late 90s, there was a photo-chemical restoration made from far better elements, though it was still a bit rough. With this new restoration, to be able to see so much detail in the frame, in the settings and in the faces of the actors, is truly startling, and it makes for a far richer and deeper experience. In fact, watching this new restoration of DETOUR might make you feel like you’re back there in 1945, seeing the picture on opening night.”
 

“We’ve been looking forward to restoring DETOUR for years,” said Michael Pogorzelski, Director of the Academy Film Archive and co-supervisor of the restoration. “It’s wonderful that The Film Foundation and four archives from around the world have collaborated to make this restoration as complete and perfect as possible.”
 

“I’m not sure anybody has ever seen DETOUR looking so good,” said Janus Films President Peter Becker, “and it’s still one of the most revered and beloved B-movie noir classics of all time. We’ve been hoping for years that this day would come and now thanks to The Film Foundation and the Academy Film Archive we can see Edgar Ulmer’s work clearly for the first time – and it’s a revelation.”
 

The restoration team began by examining potential sources, including: a 35mm dupe negative from The Museum of Modern Art, which was incomplete and riddled with jump cuts; a 35mm safety composite print from the Cinémathèque Française; and a 35mm nitrate print from the Cinémathèque Royale de Belgique. That print, thought to have been made from the original camera negative, was clearly the best element in terms of image clarity, contrast, and density, but had never been considered as a source for preservation because it contained burned-in French and Flemish subtitles.
 

This obstacle was overcome by scanning all of the print elements to 4K, then compositing frames from the MoMA print over the matching subtitled frames from the Belgian print. Where frames from the MoMA print were missing, and in shots that contained significant movement within the frame, the subtitles were removed by dedicated and talented digital artists using digital painting techniques.
 

On Sunday, April 29, the TCM Classic Film Festival will also feature TUNES OF GLORY (1960, d. Ronald Neame), another film restored through the collaborative efforts of the Academy Film Archive, The Film Foundation, MoMA and Janus Films, with generous support from the George Lucas Family Foundation.

El mítico director de cine estadunidense Martin Scorsese presentará una función especial de la película clásica mexicana Enamorada del director Emilio "Indio" Fernández, en el marco de la sección "Cannes Classics", anunció hoy la dirección del Festival de Cannes.

El certamen más prestigiado del mundo programó la proyección de una restauración de la cinta en la que colaboraron la Fundación Televisa AC y la Filmoteca de la UNAM y que será exhibida por la Film Foundation, reportó el Festival en un comunicado. 

Scorsese había elegido ya en 2015 la película protagonizada por María Félix y Pedro Armendáriz en un homenaje al cine mexicano de la época de oro organizado por el Festival Lumière de Lyon, este de Francia, que dirige el delegado general de Cannes, Thierry Frémaux.

La restauración del largometraje filmado en 1946 fue realizada por par UCLA Film y Television Archive y el The Film Foundation's World Cinema y financiada por la Material World Charitable Foundation. 

Una treintena de largometrajes clásicos de todo el mundo serán presentados este año en la sección que proyecta la mayoría de las cintas en la sala Buñuel del Palacio de Festivales del puerto de Cannes, sur de Francia. 

Es la segunda vez que el Festival de cine de Cannes proyecta Enamorada, filme que fotografió Gabriel Figueroa. Previamente, en 2005, la película fue proyectada en la playa de Cannes, durante la 58 edición del festival de Cine Internacional. 

La cinta se exhibirá, en una fecha no precisada, durante la 71 edición del Festival de cine de Cannes que tendrá lugar entre el 8 y el 19 de mayo próximos. 

Two women belonging to the history of cinema, Alice Guy and Jane Fonda, 2001: A Space Odyssey turning 50 as seen by Christopher Nolan, an essay by Mark Cousins about Orson Welles, Margarethe von Trotta’s tribute to Bergman, Fernando Solanas and The Hour of the Furnaces, Five and the Skin by Pierre Rissient being re-released, African patrimonial cinema, unknown treasures and internationally recognized masterpieces. By screening heritage films in restored 2K and 4K versions or an exceptional photochemical film recreation, Cannes Classics continues its work by exploring the history of cinema with documentaries produced in 2018 and feature films presented to us by producers, distributors, foundations, cinematheques, right-holders who work to protect the past and revive it in present days.
 

All the screenings will be introduced either by directors, artists or specialists in charge of the restorations either by professionals from the archive world or cinematheques.

Alice Guy and Jane Fonda

Be Natural: The Untold Story of Alice Guy-Blaché (Soyez naturel : L'histoire inédite d'Alice Guy-Blaché) by Pamela B. Green (2018, 2h, United States of America)
First woman director, producer and director of a studio in the history of cinema, Alice Guy is the subject of a documentary carried out full swing like an investigation aiming to make us (re)rediscover the filmmaker and her work around the world.
Presented by Wildwood Enterprises In Association with Artemis Rising. Produced by A Be Natural Production. Pamela B. Green in attendance.

Jane Fonda in Five Acts by Susan Lacy (2018, 2h13, United States of America)
Jane’s Fonda’s film career, her place in the history of the twentieth century, her relationship to the men of her life.
Presented by HBO Documentary Films. Produced by Pentimento Productions. Jane Fonda and Susan Lacy in attendance.

2001: A Space Odyssey turning 50

2001: A Space Odyssey (2001 : l’odyssée de l’espace) by Stanley Kubrick (1968, 2h44, United Kingdom, United States of America)
Presented by Warner Bros. 70mm print struck from new printing elements made from the original camera negative. This is a true photochemical film recreation. There are no digital tricks, remastered effects, or revisionist edits. The film will be introduced by director Christopher Nolan and will be screened in Debussy theater with a 15mn-intermission accurately reproducing the real-life experience of moviegoers when the film was released in the spring of 1968.
Stanley Kubrick’s daughter, Katharina Kubrick and his coproducer, Jan Harlan, in attendance.

Orson Welles

The Eyes of Orson Welles (Les Yeux d’Orson Welles) by Mark Cousins (2018, 1h55, United Kingdom)
A journey by film critic and historian Mark Cousins—director of Story of Film—in the pictorial world of Orson Welles, his drawings, paintings and works of youth, seen for the first time on screen thanks to his daughter Beatrice Welles.
Presented by Bofa Productions. Produced by Bofa Productions with Creative Scotland, the BBC and Filmstruck. Mark Cousins in attendance.

Ingmar Bergman’s Centenary  

Searching for Ingmar Bergman (À la recherche d'Ingmar Bergman) by Margarethe von Trotta (2018, 1h39, Germany, France)
Director Margarethe von Trotta, extremely appreciated by Ingmar Bergman, follows the filmmaker’s footsteps as well as her own past and questions the new generation about the place left by the Swedish master.
Presented by C-Films (Deutschland) in Hamburg and Mondex et Cie-France. International sales, Edward Noeltner, CMG in Los Angeles. Margarethe von Trotta in attendance.

Bergman — ett år, ett liv (Bergman – A Year in a Life) by Jane Magnusson (2018, 1h56, Sweden)
Bergman – A Year in a Life describes the existence of Bergman in 1957 when Wild Strawberries and The Seventh Seal were released. A film by Jane Magnusson, who directed in 2013 Trespassing Bergman with Martin Scorsese, Woody Allen, Francis Coppola, Wes Anderson.
Presented by B-reel Films. Produced by Mattias Nohrborg, Cecilia Nessen, Fredrik Heinig for B-reel Film, with SvT, Nordsvensk, FRSM, Reel Ventures, SF and supported by SFI, NFI and NFTV. Distribution: Carlotta Films. Jane Magnusson in attendance.

Det sjunde inseglet (The Seventh Seal / Le Septième Sceau) by Ingmar Bergman (1957, 1h36, Sweden)
A knight and Death meet, a legendary game of chess. The most famous masterpiece by Ingmar Bergman and one of Max von Sydow’s most significant parts.     
Presented by Swedish Film Institute. Digitization and 4K restoration from the original negative and final mix on magnetic tape carried out by Swedish Film Institute. French distribution in theaters: Studiocanal and Carlotta Films.

All the Cannes Classics Films

Beating Heart (Battement de cœur) by Henri Decoin (1939, 1h37, France)
2K Restoration presented by Gaumont in association with the CNC. Image works carried out by Eclair, sound restored by L.E. Diapason in partnership with Eclair.

Ladri di biciclette (Bicycle Thieves / Le Voleur de bicyclette) by Vittorio De Sica (1948, 1h29, Italy)
Presented by Fondazione Cineteca di Bologna, Stefano Libassi's Compass Film and Istituto Luce-Cinecittà. Restored by Fondazione Cineteca di Bologna and Stefano Libassi's Compass Film, in collaboration with Arthur Cohn, Euro Immobilfin and Artédis, and with the support of Istituto Luce-Cinecittà. Restoration carried out at L'Immagine Ritrovata laboratory.

Enamorada by Emilio Fernández (1946, 1h39, Mexico)
Presented by The Film Foundation. Restored by UCLA Film & Television Archive and The Film Foundation’s World Cinema Project in collaboration with Fundacion Televisa AC and Filmoteca de la UNAM. Restoration funded by the Material World Charitable Foundation. The film will be introduced by Martin Scorsese.

Tôkyô monogatari (Tokyo Story / Voyage à Tokyo) by Yasujiro Ozu (1953, 2h15, Japan)
Presented by Shochiku. Digital restoration by Shochiku Co., Ltd., in cooperation with The Japan Foundation. For the 4K restoration, the duplicated 35mm negative was provided by Shochiku, managed by Shochiku MediaWorX Inc. and conducted by IMAGICA Corp. French distribution in theaters: Carlotta Films.

Vertigo (Sueurs froides) by Alfred Hitchcock (1958, 2h08, United States of America)
Presented by Park Circus. 4K digital restoration from the VistaVision negative done by Universal Studios. The film will be screened at the Cinéma de la Plage (Movies on the Beach).

The Apartment (La Garçonnière) by Billy Wilder (1960, 2h05, United States of America)
Presented by Park Circus with the co-operation of Metro-Goldwyn-Mayer. 4K digital restoration from the original camera negative. Digital restoration completed by Cineteca di Bologna, Colour Grading by Sheri Eissenburg at Roundabout in Los Angeles. Supervised on behalf of Park Circus by Grover Crisp.

Démanty noci (Diamonds of the Night / Les Diamants de la nuit) by Jan Němec (1964, 1h08, Czech Republic)
Presented by the National Film Archive, Prague. The restoration was done by the Universal Production Partners studio in Prague, under the supervision of the National Film Archive, Prague.

Voyna i mir. Film I. Andrei Bolkonsky (War and Peace. Film I. Andrei Bolkonsky / Guerre et paix. Film I. Andrei Bolkonsky) by Sergey Bondarchuk (1965, 2h27, Russia)
Presented by Mosfilm Cinema Concern. Digital frame-by-frame restoration of image and sound from 2K scan. Producer of the restoration: Karen Shakhnazarov.

La Religieuse (The Nun) by Jacques Rivette (1965, 2h15, France)
Presented by Studiocanal. 4K restoration from the original camera negative. Sound restauration from the sound negative (only matching element). Works carried out by L’immagine Ritrovata laboratory under the supervision of Studiocanal and Ms. Véronique Manniez-Rivette with the help of the CNC, the Cinémathèque française and the Fonds culturel franco-américain.

Četri balti krekli (Four White Shirts / Quatre chemises blanches) by Rolands Kalnins (1967, 1h20, Latvia)
Presented by National Film Centre of Latvia. 4K Scan and 3K Digital Restoration from the original 35mm image internegative and print positive materials mastered in 2K. Restoration financed by the National Film Centre of Latvia, the restoration made by Locomotive Productions (Latvia). Director Rolands Kalnins in attendance.

La Hora de los hornos (The Hour of the Furnaces / L'Heure des brasiers) by Fernando Solanas (1968, 1h25, Argentina)
Presented by CINAIN - Cinemateca y Archivo de la Imagen Nacional. 4K Restoration from the original negatives, thanks to Instituto Nacional de Cine y Artes Audiovisuales (INCAA), in Buenos Aires. With the supervision of director Fernando "Pino" Solanas. French Distribution: Blaq Out. Fernando Solanas in attendance.

Le Spécialiste (Specialists / Gli specialisti) by Sergio Corbucci (1969, 1h45, France, Italy, Germany)
Presented by TF1 Studio. Full version previously unseen restored in 4K from the original Technicolor-Techniscope image negative and French and Italian magnetic tapes by TF1 Studio. Digital work carried out by L’Image Retrouvée laboratory, Paris / Bologne. French theater distribution: Carlotta Films. The film will be screened at the Cinéma de la Plage (Movies on the Beach).

João a faca e o rio (João and the Knife / João et le couteau) by George Sluizer (1971, 1h30, the Netherlands)
Presented by EYE Filmmuseum, Stoneraft Film in association with Haghefilm Digital. A full 4K restoration of the original 35mm Techniscope camera negative shot by Jan de Bont. By bypassing the originally required analogue blow up to Cinemascope, this digital restoration presents a direct-from-negative color richness and image sharpness never seen before.

Blow for Blow (Coup pour coup) by Marin Karmitz (1972, 1h30, France)
Presented by MK2. Restoration carried out by Eclair from the original negative in 2K with the help of the CNC and supervised by director Marin Karmitz. The film will be re-released in French movie theaters on May 16th, 2018. Marin Karmitz in attendance.

L'une chante, l'autre pas (One Sings the Other Doesn't) by Agnès Varda (1977, 2h, France)
Presented by Ciné Tamaris.
The film will be screened at the Cinéma de la Plage (Movies on the Beach) with Agnès Varda in attendance.
2k digital restoration from the original negative and restoration, color grading under the supervision of Agnès Varda and Charlie Van Damme. With the support of the CNC, of the fondation Raja, Danièle Marcovici  & IM production Isabel Marant, with the support of Women in Motion / KERING. International Sales MK2 films. Distribution in theaters: Ciné Tamaris (the film will be released in France on July, 4^th, 2018).

Grease by Randal Kleiser (1978, 1h50, United States of America)
Presented by Park Circus and Paramount Pictures. 4K digital restoration from the original camera negative. The film will be screened at the Cinéma de la Plage (Movies on the Beach) with John Travolta in attendance.

Fad,jal (Grand-père, raconte-nous) by Safi Faye (1979, 1h52, Senegal, France)
Presented by the CNC and Safi Faye. Digital restoration carried out from the 2K scan of the 16mm negatives. Restoration made by the CNC laboratory. Safi Faye in attendance.   

Five and the Skin (Cinq et la peau) by Pierre Rissient (1981, 1h35, France, Philippines)
Presented by TF1 Studio. 4K restoration from the original camera negative and the French magnetic tape by TF1 Studio with the support of the CNC and the collaboration of director Pierre Rissient. French distribution in theaters: Carlotta Films. Pierre Rissient in attendance.

A Ilha dos Amores (The Island of Love / L'île des amours) by Paulo Rocha (1982, 2h49, Portugal, Japan)
Presented by Cinemateca Portuguesa – Museu do Cinema. 4K wet gate scan of two 35mm image and sound interpositives struck in a Japanese film lab in 1996. Digital grading was made by La Cinemaquina (Lisbon, Portugal) using a 35mm distribution print from 1982 as a reference. Digital restoration of the image was made by IrmaLucia Efeitos Especiais (Lisbon, Portugal).

Out of Rosenheim (Bagdad Café) by Percy Adlon (1987, 1h44, Germany)
Presented by Studiocanal. 4k Scan and restoration. Work led by Alpha Omega Digital in Munich and carried out under the continuous supervision of director Percy Adlon. Original negative, kept in Los Angeles in excellent condition, processed in Munich for scanning and image by image restoration. The film will be screened at the Cinéma de la Plage (Movies on the Beach) with Percy Adlon in attendance.

Le Grand Bleu (The Big Blue) by Luc Besson (1988, 2h18, France, United States of America, Italy)
Presented by Gaumont. A 2K restauration. Image work carried out by Eclair, sound restored by L.E Diapason in partnership with Eclair. A screening organized to celebrate the 30^thanniversary of the screening of the film opening the Festival de Cannes in 1988. The film will be screened at the Cinéma de la Plage (Movies on the Beach).

Driving Miss Daisy (Miss Daisy et son chauffeur) by Bruce Beresford (1989, 1h40, United States of America)
Presented by Pathé. 4K restoration made from 35mm original image and sound negatives. Restoration carried out by Pathé L’image Retrouvée laboratory (Paris/Bologne) with the collaboration of director Bruce Beresford.

Cyrano de Bergerac by Jean-Paul Rappeneau (1990, 2h15, France)
Presented by Lagardère Studios Distribution. Scan from the original negative and 4K restoration carried out by L’Image Retrouvée for Lagardère Studios Distribution with the support of the CNC, the Cinémathèque française, the Fonds Culturel Franco-Américain, Arte France–Unité Cinéma, Pathé et Mr. Francis Kurkdjian. French distribution in theaters: Carlotta Films (in progress). Jean-Paul Rappeneau in attendance.   

Hyenas (Hyènes) by Djibril Diop Mambety (1992, 1h50, Senegal, France, Switzerland)
Presented by Thelma Film AG with the support of the Cinémathèque Suisse.
Scan from the orginal negative, cleaning and colorimetry correction in 2K. Works carried out by Eclair Cinéma SAS. International sales: Thelma Film AG. French distribution: JHR Films (in progress).
Preceded by:
Lamb (La Lutte sénégalaise) by Paulin Soumanou Vieyra (1963, 18 min, Senegal) Presented by La Cinémathèque de l’Institut français, Orange and PSV Films. Digital restoration made from 2K scan of the 35mm negatives. Restoration carried out by Eclair.

El Massir (Destiny / Le Destin) by Youssef Chahine (1997, 2h15, Egypt, France)
A preview of the full retrospective which will take place at the Cinémathèque française in October 2018, the film will be presented by Orange Studio and MISR International films with the support of the CNC, fostered by the Cinémathèque française. 4K restauration at Éclair Ymagis laboratory by Orange Studio, MISR International Films and the Cinémathèque française with the support of the CNC. The film will be screened at the Cinéma de la Plage (Movies on the Beach).