Registration for the Eye International Conference (29-31 May 2022) is now open.

Registration for the Eye International Conference 2022 on Global Audiovisual Archiving: Exchange of Knowledge and Practices is now open. You can access the program here and register via 

This year, we offer a hybrid conference format to accommodate everyone. There is a different registration fee for on-site and virtual participants:

On-site Regular Conference Passe-partout (3 days): 100 euro
On-site Student Conference Passe-partout (3 days): 50 euro
Virtual Conference Passe-partout (3 days): 25 euro

Day tickets
On-site Regular Conference Ticket (1 day): 50 euro
On-site Student Conference Ticket (1 day): 25 euro

As an attendee of the Eye International Conference, you are invited to join Meet the Archive, a public program highlighting recent projects from the Eye Collection, on Saturday 28th May, and the Open House at the Eye Collection Centre on Wednesday 1st June.

We look forward to welcoming you to Eye!

Eye International Conference Team



Report of ACE regional meeting (April 27th 2022)

Yesterday at the ACE Regional Meeting at the Grand Cinema Urania in Budapest for the FIAF Congress, more than 50 colleagues from film archives from all over Europe were present.

Sandra Den Hamer has opened the meeting by inviting all the colleagues to briefly introduce themselves, then proceeded to give an update on the Season of Classics and Ellen Harrington presented the Artekino Classics platform.

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The recipients of the ACE scolarship for the 2022 FIAF Film Restoration Summer School

We are proud to announce the recipients of the ACE scolarship for the 2022 FIAF Film Restoration Summer School. Their names are:
Paulo Cartaxo (Portugal) – 750 Euro
Saara Kruus (Estonia) – 750 Euro
Marko Turkus (Slovenia) – 750 Euro
Anri Vartanov (U.S.A.) – 750 Euro
Sasan Tofighian (Iran) – 1000 Euro
Donart Zymberi (Kosovo) – 1000 Euro
To find out more, click the following link: 

Call for the 2nd Summer School Digital Archive

Photo by Manuela Clemens

The Filmuni Summer School is organising the Digital Archive Summer School in cooperation with FIAF Cataloguing & Documentation Commission, the Bundesarchiv and the Deutsche Kinemathek Berlin. The summer school “Digital Archives. Data Literacy and Presentation Strategies in Audiovisual Archives” is a 5-day, practice-oriented course aimed at people working in audiovisual archives as well as at everyone else who is interested in enhancing their knowledge about digital environments and processes related to digital archives. This year’s edition focuses on the subject of digital curation.

Date: 5-9 September 2022

Location: Film University Babelsberg KONRAD WOLF

Cost: 1030,- EUR (Early Bird 930,- EUR before 30 April 2022)

Registration deadline: 10 July 2022

More information

There is also the possibility to apply for a scholarship, sponsored by The International Federation of Film Archives (FIAF),  that covers full or partial participation fees. The application deadline for the FIAF scholarship is May 29, 2022.

Out-of-commerce Works Portal Datathon event

The European Union Intellectual Property Office (EUIPO), through the European Observatory on Infringement of Intellectual Property Rights (the Observatory), in collaboration with Europeana, is organising the Out-of-commerce Works Portal Datathon event.

The main objective of the Datathon event is to raise awareness of the existence of the new out-of-commerce works solution available under the Directive (EU) 2019/790 with the aim to facilitate the digitisation of out-of-commerce works. The event also aims to bring together leaders among the cultural heritage institutions, in order to increase visibility and further attractivity of the out-of-commerce works system.

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Swedish Film Institute is seeking a digital film restorer

The Swedish Film Institute Foundation plays a leading role in Swedish film. The Film Institute’s aim is to support the production, distribution, and screening of valuable film, to preserve Sweden’s film heritage and make it available, and to represent Swedish film internationally. The Film Institute also has a national mandate to enhance film knowledge in Sweden, and to provide the people with a range of film characterised by a wide diversity of stories.


The Film Institute is digitizing and restoring the Swedish film heritage, as well as making it available. Since 2013, approximately 500 films have been restored. The purpose is to create digital material that mimics the original analogue premiere as much as possible. Every year, around 50 films are restored, and most of the films are taken into distribution either via the rightsholders themselves or through the Film Institute’s own theatrical distribution.


As a digital film restorer, you are doing manual and semiautomated restoration to digitally remove scratches, dust, dirt, damage, shaking, etc. You will be working in the Digitization unit together with eleven other staff members.

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ArteKino Classics: A New Look at Europe’s Film Heritage

Europe’s film heritage is a cultural treasure of astonishing diversity that will have a special place in ARTE with the establishment of the new programme ArteKino Classics. The works waiting to be (re)discovered by all Europeans include both well-known classics and films that are remarkable for their view of the world, their cinematography, or the superb acting.

ArteKino Classics is to kick off on 29 March 2022. It is composed of a three-month-long highlight, followed by a monthly offering, as of June 2022. The films on will be available Europe-wide with subtitles in six languages. The twenty recently restored films from almost as many countries were selected in close consultation with the Association des Cinémathèques Européennes (ACE). A third of them are by women directors. ArteKino Classics brings together European films that broke new ground in cinematography.

As part of this programme, ARTE licensed feature films from ACE’s A Season of Classic Films catalogue that consists of newly-restored distinguished titles and less known gems (see catalogue here). These titles are: The Man who had his hair cut short (1965, André Delvaux) – Royal Belgian Film Archive, She Didn’t Say No! (1958, Cyril Frankel) – Irish Film Institute, Derborence (1985, Francis Reusser) – Cinémathèque suisse, The Wayward Girl (1959, Edith Carlmar) – Norwegian Film Institute, and The Death of a Horse (1992, Saimir Kumbaro) – Albanian National Film Archive. These films will be complemented with additional titles co-curated by ACE member institutions.

ArteKino Classics, which is part of the ArteKino project, is co-funded by the Creative Europe MEDIA Programme of the European Union.

Film Programme: English, Français, DeutschEspañol, Italiano, Polski.

Watch the films online: English, Français, Deutsch, Español, Italiano, Polski.


Follow ACE on social media for the latest news: Facebook / Instagram / Twitter

ACE Actions to Support Ukraine

As the war in Ukraine is in its 4th week, we continue to seek ways that we can support our colleagues from the Oleksandr Dvozhenko Centre in Kyiv.

FIAF reports that a frequent contact with our brave colleagues of the Oleksandr Dovzhenko National Centre in Kyiv is kept to try and provide advice or put them in touch with other organizations that can help them protect their institution and collection.

A fundraising campaign to help the Dovzhenko Centre has been set up by British achitect and camera historian Richard Bossons, who has close links with the Dovzhenko Centre. FIAF will be donating to the Fund, and it encourage its affiliates – both institutionally and individually, to do the same if they can. The fundraising campaign can be found here:

ACE would also like to develop a list of current offers being made, or actions being taken, by our Member institutions. We would then share this feedback with all of you, which might serve as inspiration for many of us to take further action.

Examples we have learned of so far include: possible employment/housing or other support offers for affected colleagues, technical advice about protecting collections, fundraising events, public statements of support, providing educational materials or other resources to refugee centers, and free entry to museums and cinemas for refugee populations (from all countries affected by crises). Please email us with your updates at which is ACE’s new contact email address.

First news from Il Cinema Ritrovato 2022

Il Cinema Ritrovato will return at the beginning of the summer in Bologna in its full glory. The festival returns to its usual dates: from June 25th to July 3rd, 2022. The restrictions will be lifted by then and that means full access to the regular venues of the festival. The return to its original form will change the online version of Il Cinema Ritrovato, which has served festivals well during the last two years: for this edition, only masterclasses and panel discussions will be streamed live. The festival will retain the booking system, to ensure a smooth experience for all audiences. This year’s festival attendees will have the opportunity to visit Folgorazioni figurative, an exhibition devoted to Pier Paolo Pasolini, born 100 years ago in Bologna.

Further information will be revealed in future newsletters, but in the meantime, we bring you the first news from this edition of Il Cinema Ritrovato.

This year, the Bologna Opera House Orchestra, conducted by Timothy Brock, will be back to Piazza Maggiore to accompany two masterpieces turning 100: the magnificent Foolish Wives by Erich von Stroheim will be the first cine concert on June 27th, while on July 2nd one of the cornerstones of horror and expressionist cinema, Nosferatu by F.W. Murnau, will likely hypnotize Piazza Maggiore audience.
As usual, Il Cinema Ritrovato will welcome guests, friends, directors, film historians, actors: the festival is thrilled to confirm the presence of John Landis who, in addition to holding a masterclass, will be in Piazza Maggiore on July 3rd.

  • FOREVER SOPHIA: the retrospective curated by Emiliano Morreale and Gian Luca Farinelli will be the opportunity to see and enjoy some of Sophia Loren’s most notorious performances on the big screen.
  • THE DRIFTER’S ESCAPE: HUGO FREGONESE: a master of brisk and unsentimental westerns and crime thrillers, with a career spanning over four decades and numerous bases of production – from his home country Argentina, to America, Spain, Italy, the UK, and West Germany – Fregonese’s cinema is unjustly underappreciated to the point of obscurity. This program curated by Dave Kehr and Ehsan Khoshbakht will surely be one of the major revelations of Il Cinema Ritrovato 2022.
  • THE LAST LAUGH: GERMAN MUSICAL COMEDIES, 1930-32: The selection, curated by Lukas Foerster, covers a wide variety of comedic and musical styles and especially focuses on the rich contributions of Jewish directors, screenwriters, producers, composers, and actors in the genre, almost all of whom were forbidden to work in Germany after 1933.
  • PETER LORRE: STRANGER IN A STRANGE LAND: Lorre’s life, his films, his unrealized dreams, and his physical presence constitute one of the most honest representations of 20th-century man. Instead of wholeness and triumph, there is the half-full, half-empty result of traversing through Central European modernism and fascism, addiction and exile, the culture of money and fame, the mirror cabinet of faces and masks. The series curated by Alexander Horwath will showcase its career in its entirety.
  • “TELL THE TRUTH!”: A VIEW INTO YUGOSLAV CINEMA: This program curated by Mina Radović, featuring some fantastic new restorations along with archive prints, takes us from the classical post-war cinema to the New Wave and celebrates the works of master filmmakers of the era. What emerges are films that carry the power to speak the truth – awakening the mind and quickening the soul – in ways that can be said only for major chapters in the history of world cinema.
  • KENJI MISUMI: AN INSTINCTIVE AUTEUR: Kenji Misumi (1921-75), whose centenary was celebrated last year, is one of the unsung masters of the Japanese period film. He was a specialist above all in chambara (the action-packed variety of period film), which he imbued with remarkable Freudian undercurrents and imaginative widescreen imagery; but he also created convincing films focused on modern martial arts and the romantic experiences of women. The centerpiece of the retrospective, curated by Alexander Jacoby and Johan Nordström, will be the so-called ‘sword trilogy’, recently restored in 4K by Kadokawa, which comprises some of Misumi’s outstanding visual and thematic achievements.
  • PETER WEISS – POETRY IN MOTION: German-born painter, poet, novelist, playwright, and filmmaker, Peter Weiss (1916-82) was a pioneering figure in the Swedish art and experimental film scene in the 1950s. The centerpiece of the program curated by Wengström, is Weiss’ feature-length Hägringen (1959), an extraordinary and very personal take on ‘city symphony’ about a young man’s 24-hour encounter with Stockholm and with society at large. The films, from the collection of the Swedish Film Institute, will be presented in vintage prints and DCPs of recent digital restorations.
  • THE CENTURY OF CINEMA: 1902: A Trip to the Moon by Georges Méliès, as well as his fantastic trick films and gorgeous fairy tale films, and the imitations by Gaston Velle (chez Lumière Bros) and Ferdinand Zecca (chez Pathé) are some of the highlights of the program curated by Mariann Lewinsky and Karl Wratschko. The great variety of genres already on offer by Pathé frères is another remarkable aspect of that year’s production, pre-announcing the dramatic expansion and worldwide success of cinematography in the years to come.
  • ONE HUNDRED YEARS AGO: 1922: If looking for masterpieces, this year there’ll be films by luminous figures such as Dreyer, Flaherty, Nazimova, Vertov, Delluc, Murnau, Dwan, and Stroheim. But if you want to go beyond the canon, there’ll be works of Zhang Shichuan, Teuvo Puro, and Warren A. Newcombe and a choice selection of short films, among them two newly restored silhouette films by animation pioneer Lotte Reiniger. A special celebration is due to Albert Samama Chikli and his daughter Haydée Tamzali who a hundred years ago made together Zohra, the first Tunisian fiction film. This program is curated by Mariann Lewinsky and Karl Wratschko
  • THE POISONED FLOWERS OF VICTORIN-HIPPOLYTE JASSET: After a career as a costume designer and director of theatrical mass spectacles, Victorin-Hippolyte Jasset (1862-1913) created the first-ever crime and spy series featuring the detective Nick Carter, the cruel Genius of Evil Zigomar, and intrepid Protéa the spy-catcher. The program is curated byÉmilie Cauquy, Hiroshi Komatsu and Mariann Lewinsky
  • SUPER8, 9.5MM & 16 MM – GREAT SMALL GAUGES: this Il Cinema Ritrovato edition focuses on one hand on the collection of the University of Paderborn dedicated to small gauge films by female experimental filmmakers from the German-speaking countries made between 1964 and the 2000s, including directors like Ute Aurand, Elfi Mikesch, Christine Noll Brinckmann and many more. On the other hand, it will celebrate the anniversary of the 9.5mm format which came on the market in the year 1922, with presentations from the collections of Home Movies, Les Inedits, Fondation Jérôme Seydoux-Pathé and Lichtspiel/Kinemathek Bern, to be projected with a vintage 9.5mm projector. The program is curated byAnnette Brauerhoch and Karl Wratschko.


Il Cinema Ritrovato DVD Awards
Two international juries, one of the critics and one of the filmmakers, will pick the best home-video releases of the year.

Book Fair
The most tempting collection of film books, DVDs, Blu-rays, and posters is offered inside the Renzo Renzi Library. Leave some empty room in your luggage!

FIAF Film Restoration Summer School
The ninth edition of the summer school dedicated to film restoration, promoted by FIAF, ACE, Cineteca di Bologna and L’Immagine Ritrovata, will finally take place in Bologna, after the forced postponement of the 2020 edition.

Pier Paolo Pasolini. Folgorazioni Figurative
Bologna, Sottopasso di Piazza Re Enzo, until 16th October 2022
The exhibition explores the dialogue between the great works of art history and Pasolini’s cinematographic work.



Bologna Welcome will provide festivalgoers with complete information about accommodation in Bologna, as well as travel tips. Early birds will have better opportunities and benefit from special rates. Click here to discover more.

Toute la mémoire du monde 2022 – The festival dedicated to restored films


This year’s Toute la mémoire du monde, the ninth edition of the festival dedicated to restored films, will have Carole Bouquet as its Godmother and Béla Tarr as the Guest of Honour. The festival will take place from March 30th to April 3rd.

Carole Bouquet will be on stage to talk about the films that are dear to her, Trop belle pour toi, Grosse fatigue, Travaux, but also about her incandescent work in Double Messieurs by her dear friend, Jean-François Stévenin.

The festival will pay a tribute to Béla Tarr during the Festival, an opportunity to review his monoliths, carved since the early 90s, including the impressive Sátántangó , but also to discover the hidden side of his filmography, his pre-glory films, striking portraits in colors of the Hungarian youth and working class.

Toute la mémoire du monde offers a vast selection of prestigious restorations, a unique opportunity to see again in exceptional conditions films as fundamental as Accattone, The Golden Age, Psychosis, The Rules of the Game or Truths and Lies. The festival will showcase rare works long hidden in the folds of history: As Tears Go By, Wong Kar-Wai‘s first feature film, Maddalena, sublimely set to music by Ennio Morricone, or Les Apaches by Dmitri Gaziadis. The festival will pay tribute to Isabelle Weingarten, Melvin Van Peebles, Peter Bogdanovich and Tonie Marshall, by showing some of their finest films on the big screen. Toute la mémoire du monde will help us get to know unknown filmmakers, the avant-garde Gustav Deutsch and Yuzo Kawashima, a pioneering director of the Japanese new wave. In conclusion the festival will showcase a selection of feature films from Deutsche Kinemathek and a selection of gems from Cinémathèque Française and from Centro Sperimentale di Cinematografia in Turin.

For more information, visit the Cinémathèque Française’s website.