News
Charlie Chaplin’s ‘Modern Times’ Still Packs Them In
Nick Vivarelli
Marlon Brando is also being celebrated at the Cinema Ritrovato festival, dedicated to rediscovered classics.
ROME — Charlie Chaplin’s “Modern Times” can still draw a massive crowd after 80 years.
An estimated 7,000 spectators packed Bologna’s Piazza Maggiore square to catch the 1936 classic starring Chaplin and Paulette Goddard in a restored version with live musical accompaniment on Saturday, as it opened the 30th edition of the Il Cinema Ritrovato festival dedicated to rediscovered gems.
Directors Jean-Pierre and Luc Dardenne, Bernardo Bertolucci, Ermanno Olmi, and Cannes Film Festival artistic director Thierry Fremaux are among guests of this year’s 30th edition of Cinema Ritrovato, which will run through July 2. Fremaux, who also heads the Lumiere Institute in Lyon, inaugurated a photo exhibition dedicated to the Lumiere Brothers, cinema’s most illustrious pioneers.
The Dardenne brothers Sunday night introduced the freshly restored copy of their 1996 breakthrough feature “La Promesse” (“The Promise”), on the timely topic of immigration in Europe. Bertolucci and cinematographer Vittorio Storaro (“Apocalypse Now”) will be reminiscing this week about Marlon Brando, whom Bertolucci directed in “Last Tango in Paris.” Brando’s sole directorial effort, the Western “One-Eyed Jacks,” restored by Martin Scorsese’s The Film Foundation, is also screening. Olmi will be presenting the world premiere of the restored print of his Italian peasant drama “The Tree of Woden Clogs,” which won the 1978 Cannes Palme d’Or.
The event is run by Italy’s Cineteca di Bologna, the prominent film archives known globally as a prime film-preservation entity. After dedicating more than a decade to the restoration of Charlie Chaplin’s entire oeuvre, it is currently working on a multiyear project to restore all of Buster Keaton’s films, in tandem with New York-based Cohen Media Group.
The first fruits of this collaboration, fresh restorations of Keaton shorts “The High Sign” and “Cops,” are screening Tuesday after Chaplin’s “The Kid.”
Footage Award Winners Honoured at FOCAL's 13th Annual Gala Awards
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The 13th annual FOCAL International Awards in association with AP Archive took place last Thursday night before a full house at The Lancaster London Hotel. Now well into their second decade and going strong, The FOCAL International Awards celebrate the best use of footage in all variety of genres, across all media platforms, with the 2016 event showing strength from around the global production community.
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London, UK - 31 May 2016
The 13th annual FOCAL International Awards in association with AP Archive took place last Thursday night at The Lancaster London Hotel, honouring producers, filmmakers and other creative professionals who have used library footage in a documentary, feature film or any other form of production released in 2015. The BBC's Kate Adie hosted the gala ceremony, which also served as an occasion to bid farewell to event organizer Julie Lewis, who is retiring from FOCAL this year. Under Lewis's leadership, the FOCAL Awards have evolved over the last decade into a major event in the archival production community.
Awards in sixteen categories, including Lifetime Achievement, were handed out and several high-profile documentaries took home top honours. Academy Award Winner Amy, about the life of Amy Winehouse, won the Award for Best Use of Footage in both the Music Production and Cinema Release categories, edging out Cobain: Montage of Heck in both categories. Archive Producer Paul Bell was there to collect both awards and spoke of the 'importance of giving creative people the space they need to find the stories that already exist in the archive'.
The Black Panthers: Vanguard of the Revolution directed by Stanley Nelson won for Best Use of Footage in a Factual Production. Accepting the award in a pre-recorded video, Nelson said, 'Archival footage is a real part of what we do - I look at it as another character in the film, so to win an award for its usage is amazing.'
Best of Enemies featuring the acerbic public debates between Gore Vidal and William F. Buckley Jr, which was short listed twice, prevailed in the Entertainment category. The BBC's Imagine strand saw off Arena: Night and Day, celebrating 40 years of the their longest running Arts series, with The Ecstasy of Wilko Johnson directed by Julien Temple. Ray Davies, formerly of the Kinks, was there to hand over the award as Patron of London's Screen Archives.
Twenty-five European films were shortlisted for this year's FOCAL International Awards. Among them, Every Face Has a Name, from Swedish production company Auto Images, won for the Best Use of Footage in a History Production, beating A German Youth from Local Films (France) and Red Gold from Vivement Lundi (France) whilst the Award for Best use of Sports Footage was collected by Yuzu Productions (France) for Free To Run.
The FOCAL Awards also honour the work of archival researchers, footage archivists and film preservationists, with this year's Lifetime achievement award going to legendary film preservationist Robert Gitt. In a career spanning more than fifty years, Robert Gitt has gained an international reputation as one of the foremost experts in the preservation and restoration of motion pictures.
In an emotional speech, Berman-Bogdan said, 'I've been a Researcher for 35 plus years. I've worked on a lot of amazing films which have won a lot of awards, but this is the first time that I, personally, have ever won an award for my achievements, so I want to thank FOCAL for recognising Researchers and all that Archives do.'
Historic Films won the Library of the Year Award, and Tim Emblem-English formerly of BBC Studios and Post Production won for Footage Employee of the Year.
The Best Archive Restoration/Preservation Award went to The Memory of Justice and was collected by The Film Foundation's, Margaret Bodde.
Please see below for a full list of all 2016 FOCAL International Awards winners.
FOLLOW THE LINKS:
Best Use of Footage in a History Production - Sponsored by Getty Images / BBC Motion Gallery
* Every Face Has a Name - Auto Images (Sweden) Best Use of Footage in a Current Affairs Production - Sponsored by Bloomberg Content Service
* The Queen of Ireland - Blinder Films (Ireland) Best Use of Footage in a Factual Production - Sponsored by Bridgeman Footage
* The Black Panthers: Vanguard of the Revolution - Firelight Films, Inc (USA) Best Use of Footage in an Entertainment Production - Sponsored by FremantleMedia Archive
* Best of Enemies - Tremolo Productions / Magnolia Pictures (USA) Best Use of Footage in an Arts Production - Sponsored by Film London & London's Screen Archives
* Imagine: The Ecstasy of Wilko Johnson - Essential Arts Entertainment/Nitrate Film//BBC (UK) Best Use of Footage in a Music Production - Sponsored by Shutterstock
* Amy - On The Corner (UK) Best Use of Sports Footage - Sponsored by ITV Sport Archive
* Free to Run - Yuzu Productions (France) Point Prod (Switzerland) and Eklektik Productions (Belgium) Best Use of Footage in an Advert or Short Production - Sponsored by Broadcast Tech
* Lenor 'Odes to Clothes: Marvellous Scarf' - The Director Studio for Grey Düsseldorf (UK/Germany) Best use of Footage about the Natural World - Sponsored by Global ImageWorks
* The Nature of Things: Jellyfish Rule! - CBC (Canada) Best Use of Footage on non-Television Platforms - Sponsored by Visual Data
* The Beatles 1+ Video Collection - Apple Corps Limited (UK) Best Archive Restoration / Preservation Project or Title - Sponsored by Prasad Corp
* The Memory of Justice - The Film Foundation / Academy Film Archive (USA) The Jane Mercer Footage Researcher of the Year Award - Sponsored by AP Archive
* Jessica Berman-Bogdan (USA) for Cobain: Montage of Heck and Narcos Footage Employee of the Year- Sponsored by Creative Skillset
* Tim Emblem English (BBC Studios and Post Production) Footage Library of the Year - Sponsored by Bonded Services
* Historic Films Archive - ENDS -
ABOUT FOCAL INTERNATIONAL
The Federation of Commercial Audiovisual Libraries International is a professional not-for-profit trade association formed in 1985. It is fully established as one of the leading voices in the industry, with a membership of over 300 international companies and individuals. Its purpose is to facilitate the use of library footage, images, stills and audio in all forms of media production; promote its members - libraries selling content plus those whose serve the industry; provide a platform for members to promote themselves and their interests; encourage good practise in the research, licensing, copyright clearance and use of footage; support, promote and educate on the need to preserve and restore footage and content; act as an information resource for the footage and content industry; offer training in key skills and in the broader appreciation of the footage and content industry. 79 College Road, Harrow, Middx, HA1 1BD, UK
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Montclair Film Festival 2016: 'The Front Page,' a digitally restored classic
Ricardo Kaulessar
Back in February, when The Montclair Times did its top ten list of favorite journalism movies, one movie did not make the cut.
Now, "The Front Page" gets to be on a page, if not the front page, so to speak, in this newspaper.
The 1931 classic, which would be remade nine years later as another classic, "His Girl Friday," as well as a 1974 version with the same name, is being shown during the Montclair Film Festival.
And it will be on the big screen in a new digitally restored print courtesy of the Film Foundation, the nonprofit organization founded by Martin Scorsese and other filmmakers in 1990 for the purposes of film preservation and the exhibition of restored and classic cinema.
The screwball comedy directed by Lewis Milestone ("All Quiet on The Western Front") is based on a 1928 play by Ben Hecht and Charles MacArthur, and stars Adolphe Menjou and Pat O'Brien as the editor and reporter of a Chicago newspaper who conspire to hide an accused murderer who escapes from jail in order to get their exclusive story with him.
The film was nominated for three Academy Awards including Best Picture.
Tom Hall, executive director of the festival, said the screening came about after conversations with Montclair resident Margaret Bodde, executive director of the Film Foundation.
"I love the Film Foundation and their mission, and one of the things that gets lost in the shuffle of film festivals is restorations and film preservations," Hall said. He hopes the public will check out the restored print, which he called "beautiful and pristine." If there's enough of an audience, he plans to show other restored films at the MFF space on Bloomfield Avenue in the future.
Hall said he is also a big fan of "The Front Page," which he called the "the grandfather of newspaper movies." He said he thought it would be perfect to show in Montclair, which is home to many journalists.
As for the movie, Hall said what he appreciates about it is that it serves as a kind of time capsule.
"Movies are a great way to travel the world without having to leave your house, and with 'The Front Page,' it's really fun to go back and time travel to see the history of cinematic storytelling," Hall observed.
Despite its age, Hall observed, the movie still holds up with a "lot of freshness and the jokes even land pretty well."
Bodde said she also is looking forward to "The Front Page" showing.
"The Montclair Film Festival is becoming a world-class film festival, and in my opinion, one of the reasons why is that it includes restorations of classic films," she said.
The restoration of the 1931 movie came about when the Film Foundation and the Academy Film Archive worked together, starting about three years ago. She said the challenge was that the original negative of the film no longer existed, which would enable the making of a new print.
"The film had gone into the public domain and there was no studio that was responsible for maintaining the film," Bodde said. "The sources to use for the restoration were different copies."
She said months of research that included studying the production files of the movie as well as finding original audio elements helped in the restoration of the film.
Bodde hopes that her fellow Montclairites will come out and see the movie to gain an appreciation of some of the things that have made her a fan.
"The writing is one of the stars of the show, which made the film one of the earliest examples of screwball comedies," Bodde said. "This is the ultimate newspaper movie, it shows the scrappy journalist who will do anything for a story."
Cannes Classics 2016
Bertrand Tavernier with a world premiere preview, a conversation with William Friedkin, a 1966 celebration, the 70th anniversary of the Fipresci prize, Wiseman & Depardon, two giant documentary filmmakers, unknown features from far away countries, film libraries honored, Eastern Europe movies, documentaries about cinema, great popular films, genre films, science fiction, comedies, an animation film, gothic horror, westerns: this is Cannes Classics 2016.
Most of the films which will be presented will be released in theaters and on DVD/Blu-ray. In whole or in part, the Cannes Classics program will be screened at Les Fauvettes theater (Paris), at the festival Cinema Rittrovato (Bologna), at the Institut Lumière (Lyon).
WORLD PREMIERE PREVIEW OF BERTRAND TAVERNIER'S DOCUMENTARY ABOUT FRENCH CINEMA
• Voyage à travers le cinéma français by Bertrand Tavernier (2016, 3h15, France).
“This work as a citizen and spy, as an explorer and as a painter, as a columnist and as an adventurer that have been described so well by many authors, from Casanova to Gilles Perrault, is not a beautiful definition of a filmmaker that we want to apply to Renoir, Becker, to the Vigo of Zéro de Conduite, to the Duvivier of Pépé le Moko, as well as Truffaut, Franju or Demy. To Max Ophuls and also Bresson. And to less known directors whom, during a scene or a film, sparkle an emotion, find some surprising truths. I would like this film to be an act of gratitude to all the filmmakers, writers, actors and musicians that have apparead suddenly in my life. Memory warms up: this film is a bit of coal for winter nights.”
A Little Bear-Gaumont-Pathé coproduction, with the participation of CANAL+, CINE+, of the SACEM. And with the support Région Ile-de-France, in partnership with the CNC. International sales: Gaumont. Distribution in France: Pathé. The film will be released in theaters in October 2016.
CINEMA MASTERCLASS: WILLIAM FRIEDKIN
The American filmmaker will give the annual Cinema Masterclass hosted by film critic Michel Ciment on Wednesday, May, 18th. He will also introduce a restored surprise film at Buñuel Theater and Sorcerer (1977) at the Cinéma de la Plage.
Sorcerer presented by La Rabbia. A Warner Bros Restoration under the supervision of Ned Price, Vice President of Mastering at Warner Bros. and William Friedkin. Scan 4 K from the 35mm négative. Audio restauration by Aaron Levy from 35mm 4-stereo track. Color-grading supervision by Bryan McMahan.
Thanks to Bob Finkelstein, Karen Magid, Craig Kornblau, Dan O’Rourke, Traci Caroll, Wallon Green, Bud Smith.
THE DOUBLE PALME D'OR OF 1966
• The Battle of the Rails opened this mini-retrospective and the Festival de Cannes has kept on welcoming the restorations of the films which won the Palme d’or. In 2016 we are going back to the year 1966 and its two winners, Pietro Germi and Claude Lelouch. They were awarded the prize by the jury presided over by Sophia Loren.
• Signore & signori (The Birds, the Bees and the Italians) by Pietro Germi (1966, 2h, Italy/France)
Presented by Cineteca di Bologna, Istituto Luce - Cinecittà, DEAR International. Restored by Cineteca di Bologna, Istituto Luce - Cinecittà and DEAR International at L’Immagine Ritrovata laboratory.
• Un Homme et une femme (A Man and a Woman) by Claude Lelouch (1966, 1h42, France)
Presented by Les Films 13. The film has been restored by Eclair laboratory in Vanves. It was scanned and color-graded from the original 35mm color and black and white negative with Claude Lelouch. It was digitally restored and finalized in 2K for the DCP. The sound was restored from the original mono magnetic 35mm.
Restoration and digitization with the support of the CNC.
A CROSSED TRIBUTE TO RAYMOND DEPARDON AND FREDERICK WISEMAN
• Faits divers by Raymond Depardon (1983, 1h30, France)
Presented by Palmeraie et désert with the support of the CNC. Original negative digitized and restored frame by frame in 2K by Eclair. Restoration and color-grading supervised by Raymond Depardon who will introduce his film before the screening.
• Hospital by Frederick Wiseman (1969, 1h24, USA)
Presented by Zipporah Films and Blaq Out in partnership with Doc & Film and UniversCiné, Hospital was restored in a 35 mm copy by the Library of Congress Audiovisual Conservation Center from original camera negatives in the Zipporah Films Collection.
Upon this occasion Frederick Wiseman will be present at Cannes and be awarded the Prix Consécration by France Culture radio station.
THE FIRST PRIZE OF THE FIPRESCI, UPON THE OCCASION OF THE CELEBRATION OF THE 70th ANNIVERSARY OF THE INTERNATIONAL FEDERATION OF FILM CRITICS
• Farrebique by Georges Rouquier (1946, 1h27, France)
Presented by Les Documents cinématographiques. The film was digitized and restored by Eclair with the support of the CNC. The 2K restoration has been made from a nitrate negative and nitrate interpositive. Cristina Martin at the Documents Cinématographiques coordinated and managed the project.
NINE DOCUMENTARIES ABOUT CINEMA
Cannes Classics programs documentaries as every year—a way to tell the history of cinema by cinema itself.
• The Cinema Travelers by Shirley Abraham and Amit Madheshiya (2016, 1h36, India)
Presented and produced and by Cave Pictures (India).
The portrait of a traveling movie theater in India, which continues to bear the magic of the images to a stunned audience, is faced with technological, numerous and complex changes. A projector repairman narrates film changes with poetry, philosophy and pragmatism.
• The Family Whistle by Michele Russo (2016, 1h05, Italy)
Presented by American Zoetrope, produced par Ulisse Cultural Association.
The Coppola family—their arrival in the US, their links with their native Italy and their relationship to music. A lot of interviews and malicious anecdotes from one of the greatest clans of today’s cinema. With Francis Coppola and Talia Shire.
• Cinema Novo by Eryk Rocha (2016, 1h30, Brazil)
Presented by FiGa Films. Produced by Aruac Filmes & Coqueirão Pictures, co-produced by Canal Brasil & FM Produções.
A political and poetic movie essay, focusing on the major films of the Cinema Novo wave in Brazil. Numerous interviews with directors Nelson Pereira dos Santos, Glauber Rocha, Leon Hirszman, Joaquim Pedro de Andrade, Ruy Guerra, Walter Lima Jr. and Paulo César Saraceni.
• Midnight Returns: The Story of Billy Hayes and Turkey by Sally Sussman (2016, 1h39, USA)
Presented and produced by Midnight Return LLC, in association with Old Forest Hill Productions, Inc.
The story of the film Midnight Express by Alan Parker (1980) as told by those who made it: director Alan Parker, screenwriter Oliver Stone and producer David Puttnam. In parallel the real protagonist Billy Hayes discusses his personal journey and how his life has changed. Turkey, the image and the diplomatic relations of which were affected by the film, gives its point of view, as Billy Hayes tries to go back there to rebuild broken links.
• Bright Lights: Starring Carrie Fischer and Debbie Reynolds by Alexis Bloom and Fisher Stevens (2016, 1h35, USA)
Presented by HBO Documentary Films, produced by HBO and RatPac Documentary Films.
The life and intimate relationship of two actresses: Carrie Fischer, the heroine of Star Wars, and Hollywood legend Debbie Reynolds who starred in Singing in the Rain. The big story and the small story unfold before our eyes. A tender documentary on two golden ages of American cinema.
• Gentleman Rissient by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann (2015, 1h14 minutes, France)
Presented and produced by SODAPERAGA and CINE+ (Bruno Deloye).
A film co-directed by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann to unveil Pierre Rissient, a man of discovery—publicist, producer, director and tireless ambassador of world cinema.
• Close encounters with Vilmos Zsigmond by Pierre Filmon (2016, 1h22, France)
Presented and produced by FastProd, Lost Films and Radiant Images with the participation of TCM Cinéma. To be released in French theaters.
The life of cinematographer Vilmos Zsigmond. From the streets of Budapest to Hollywood he describes his out of the ordinary journey. Many performers, including John Travolta and Nancy Allen, and famous cinematographers talk, question him and we discover a complete artist.
• Et La femme créa Hollywood (Women Who Run Hollywood) by Clara and Julia Kuperberg (2015, 52mn, France)
Presented and produced by Wichita Films and OCS.
Exploring the exciting stories of Lois Weber, Mary Pickford and Dorothy Arzner, we discover a passionate gallery of pioneers who also created Hollywood. What do they have in common? They are all women and they have all been almost forgotten.
• Bernadette Lafont et Dieu créa la femme by Esther Hoffenberg (2016, 65mn, France)
Presented and produced by ARTE France, Lapsus, Inthemood and INA.
A journey with Bernadette Lafont, the most atypical French film actress. The film sweeps her life and stunning artistic career.
Her granddaughters go back to Bernadette's dreams and her friends Bulle Ogier and Jean-Pierre Kalfon evoke their artistic and human complicity.
Throughout the film Bernadette Lafont with her unmistakable voice of character actress weaves the movie of her life.
RESTORED PRINTS
As every year Cannes Classics showcases around twenty restored prints. Extra attention has been paid to invite countries which had never been invited for their patrimonial work (Slovenia, Switzerland, Pakistan, Czech Republic, Cuba, Thailand, Hungary, and Poland). Watch out for rare gems! Also, we have great classics, film libraries and films which give us news.
• Die letzte Chance (The Last Chance) by Leopold Lindtberg (1945, 1h53, Switzerland)
A presentation of the Cinémathèque suisse. A restoration of the Cinémathèque suisse and the Schweizer Radio und Fernsehen (SRF) with the support of Memoriav at Hiventy laboratory.
• Dolina Miru (Valley of Peace) by France Stiglic (1956, 1h30, Slovenia)
A presentation of the Slovenian Film Centre. 2K film and sound restoration from 4K scan of black and white 35 mm intermediate film positive and internegative. Restored sound from a 35mm optical sound negative.
Restorations lead by Bojan Mastilović and Janez Ferlan, color grading lead by Janez Ferlan,at Iridium Film, Ljubljana. Sound restoration lead by Matjaž Zdešar.
Supervised by project commission: DOP Lev Predan Kowarski and Rado Likon, director Urša Menart.
• Ikarie XB 1 by Jindřich Polák (1963, 1h28, Czech Republic)
A presentation of the National Film Archives (NFA).
Source for the digitization were elements preserved in the NFA, image was digitized from the original camera negative and sound from the sound negative. 4K restoration made under the supervision of the NFA in the Hungarian Filmlab. The film was digitally restored within the project "Digital restoration of Czech film heritage" which was supported by a grant from Iceland, Lichtenstein and Norway and co-financed by the Czech Ministry of Culture. Project partners were the National Library of Norway and CESNET.
• Jago hua savera (Day Shall Dawn) by Aaejay Kardar (1958, 1h34, Pakistan)
A presentation of the Nauman Taseer Foundation. Image and sound restoration from the best elements possible, since the negative has disappeared, by Deluxe Restoration London. It was commissioned by Anjum Taseer.
• Memorias del subdesarrollo (Memories of the Underdevelopment) by Tomás Gutiérrez Alea (1968, 1h37, Cuba)
A presentation of Les Films du Camélia and Cineteca di Bologna. Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with Instituto Cubano del Arte e Industria Cinematográficos(ICAIC) and Les Films du Camélia. The film will be released in French theaters.
• Santi-Vina by Thavi Na Bangchang (1954, 1h54, Thailand)
A presentation of Film Archive (Public Organization) in Thailand.
The original material of this film was considered lost. In 2014 the original material was found in the British Film Institute as well as the release print in the China Film Archive and at the Gosfilmofond in Russia. A 4K scan and restoration was carried out from the original camera and sound negatives found at the BFI. The restoration work was carried out at L’Immagine Ritrovata laboratory.
• Szerelem (Love) by Károly Makk (1971, 1h32, Hungary)
A presentation of the Hungarian National Film Fund and of the Hungarian National Digital Film Archive and Film Institute (MaNDA).
A 4K Scan and Restoration from the original 35mm negatives. Digitization and restoration of the sound from 35mm magnetic tapes. Restoration made by the Focus-Fox Studio and Hungarian Filmlab. The film will be released in French theaters.
• Howards End by James Ivory (1992, 2h20, United Kingdom/Japan)
A presentation of the Cohen Film Collection LLC with director James Ivory and actress Vanessa Redgrave in attendance.
Digital restoration from the original camera negative held at the archive of the George Eastman Museum completed in 4K by Cineric Portugal – Simon Lund.
Color grading under the supervision of cinematographer Tony Pierce-Roberts and director James Ivory by Deluxe Restoration (London) - Steve Bearman, Mark Bonnici, Graham Jones.
5.1 audio track restoration by Audio Mechanics (Burbank) - John Polito.
• Decakolog 5 (Thou shalt not kill) and 6 (Thou shalt not commit adultery) by Krzysztof Kieślowski (1989, 57mn et 58mn, Poland)
A presentation of MK2 and TVP. Restoration in 2K from original image negatives by TVP in Poland.
The color-grading of each episode has been supervised by the DOPs of the episode they photographed.
• Momotarô, Umi no shinpei (Momotaro, Sacred Sailors) by Mitsuyo Seo (1945, 1h14, Japan)
A presentation of Shochiku Studio.
The digital restoration is scanned in 4K, image restoration and projection in 2K by Shochiku Co., Ltd.
• One-Eyed Jacks by Marlon Brando (1961, 2h21, USA)
A presentation of Universal Studios and The Film Foundation.
Restored by Universal Studios in collaboration with The Film Foundation. Special thanks to Martin Scorsese and Steven Spielberg for their consultation on this restoration.
• Solyaris (Solaris) by Andreï Tarkovski (1972, 2h47, Russian Federation)
A presentation of Mosfilm Cinema Concern.
Digital frame-by-frame restoration of image and sound from 2K scan of the negative. Producer of the restoration: Karen Shakhnazarov.
• Ugetsu monogatari (Ugetsu) by Kenji Mizoguchi (1953, 1h37, Japan)
Presented by The Film Foundation, KADOKAWA Corporation, and the Hollywood Foreign Press Association.
Restored by The Film Foundation and KADOKAWA Corporation at Cineric Laboratories. Special thanks to Masahiro Miyajima and Martin Scorsese for their consultation on this restoration. Restoration funding provided by the Hollywood Foreign Press Association in association with The Film Foundation and KADOKAWA Corporation.
• Dragées au poivre (Pepper Candy) by Jacques Baratier (1963, 1h34, France)
A presentation of the CNC and the Association Jacques Baratier. Digital restoration made from the digitization in 2K of the 35mm negatives. Restoration made by Mikros Image.
• Valmont by Milos Forman (1989, 2h17, France)
A presentation of Pathé.
Restoration carried out by Pathé en 2016, made in 4K by L’Immagine Ritrovata laboratory, with the support of the CNC.
• Gueule d’amour by Jean Grémillon (1937, 1h32, France)
Presented by TF1 Droits Audiovisuels with the suppport of the CNC.
A 4K restauration from the original negative made at Hiventy.
• Masculin féminin by Jean-Luc Godard (1966, 1h50, France)
A presentation of Argos Films and TAMASA. 2K digitization and restoration from the original negative by Eclair, color-grading supervised by cinematographer Willy Kurant. Sound restoration from the sound negative by L.E. Diapason. The film will be released in French theaters.
• Indochine by Régis Wargnier (1992, 2h32, France)
A presentation of Studiocanal. Digitization from the original negative and restoration frame by frame in 4K by L’Immagine Ritrovata.
• Adieu Bonaparte by Youssef Chahine (1984, 1h55, France/Egypt)
A presentation of the Cinémathèque française, Misr International Films and TF1 Droits Audiovisuels. A restoration of Misr International Films and TF1 Droits Audiovisuels carried out by the Cinémathèque française with the support of the CNC, of the Fonds Culturel Franco-Américain (DGA-MPA-SACEM-WGAW), of the Archives audiovisuelles de Monaco and the Association Youssef Chahine. The works have been made from the image negative and the sound magnetic tapes at Eclair and at L.E.Diapason studio.
• Pit and The Pendulum by Roger Corman (1961, 1h20, USA)
A presentation of Alta Vista Productions and MGM Studios/Park Circus.
35mm archival print made in conjunction with the Academy of Motion Picture Arts and Sciences and producer Jon Davison from the original negative at Fotokem Los Angeles with Mato DerAvanessian and supervised by Roger Corman. Damaged shots were restored digitally and re-cut into the film.
• Rendez-vous de juillet by Jacques Becker (1949, 1h39, France)
A 2K restoration presented by Gaumont.
Image work made by Eclair, sound restored by L.E. Diapason with Eclair. The film will be released in French theaters and on DVD/Blu-ray.
CANNES CLASSICS SPECIAL SCREENINGS
• Terrore nello spazio (Planet of the Vampires) (1965, 1h28, Italy/Spain) by Mario Bava
A presentation by Fulvio Lucisano, Nicolas Winding Refn and CSC Cineteca Nazionale. The movie has been digitally restored from the original 35mm Kodak Eastman Color negative, courtesy of Italian International Film.
The color correction via colorimetry comparison of an original 35mm positive copy courtesy of the Cineteca Nazionale was carried out under the supervision of assistant director Lamberto Bava.
The digital intermediate process using 35mm Kodak polyester copies and 35mm color-positive copies by Fotocinema Roma in 2015.
• Tiempo de morir by Arturo Ripstein (1966, 1h30, Mexico)
A presentation by Sidonis Calysta. The film has been restored by ALAMEDA FILMS at LABOFILMS MEXICO under the supervision of Enrique Alagón, Adolfo Alagón and Gabriel Elvira at LABODIGITAL under the supervision of Charles Barthe.
