Author: Association of European Cinematheques

ARTEKINO CLASSICS 2024 PROGRAMME

With the third edition of this groundbreaking public broadcasting initiative, ARTE and ACE are providing free online access to European cinematic treasures.

The new season of ArteKino Classics opens with two major Italian neorealist films: Federico Fellini’s comedy about a group of swindlers, Il Bidone (1955), and Roberto Rossellini’s documentary-style war film, Rome, Open City (1945). Scheduled to become available on 19 and 21 June respectively these two classics paint a portrait of Italy in the 1940s and 1950s.

Several titles will be included on arte.tv from 1 June, such as seminal works by filmmakers such as Dhimitër Anagnosti (Albanian National Film Archive), Harry Kümel (Royal Film Archive of Belgium), Zoltán Fábri (National Film Institute Hungary – Film Archive), Yvonne Scholten (Eye Filmmuseum), Živojin Pavlović (Jugoslovenska Kinoteka), Ana Mariscal (Filmoteca Española).

More European masterpieces will be added each month – with subtitles in six languages – until the end of the year. The digital and analogue broadcast collection will include films such as Philippe de Broca’s The King of Hearts (1966) in August, and Hungarian director Márta Mészáros’ Nine Months (1976) in October. Younger audiences will be able to discover or rediscover the classics of European cinema online.

Check the full ArteKino Classics 2024 Programme (PDF)
English, Français, Deutsch, Español, Italiano, Polski

Watch the films online with subtitles 
English, Français, Deutsch, Español, Italiano, or Polski (availability varies by region).



ArteKino Classics is an integral part of ArteKino which, since 2016, has produced the ArteKino Festival and ArteKino Selection as a showcase for young European directors and their contemporary visions, in a strategy that connects today’s young filmmakers to classic cinema. The programme invites European audiences to (re)discover both popular classics and films that broke new ground in cinematography and social discourse between 1945 to 1995.

The ARTE Group selects the works, in cooperation with the Association des Cinémathèques Européennes (ACE). All these films have been recently restored, many of them in the framework of ACE’s A Season of Classic Films.

Supported by the Creative Europe MEDIA Programme, the ArteKino project is delivered by the ARTE Group and ACE.

Join the conversation on social media using the #ArteKinoClassics hashtag!


PAST NEWS ABOUT ARTEKINO CLASSICS

2023-12-31 | ARTEKINO CLASSICS BACKGROUND AND RESULTS
2023-02-20 | PRESENTATION OF 2023 ARTEKINO CLASSICS DURING BERLINALE
2022-03-29 | ARTEKINO CLASSICS: A NEW LOOK AT EUROPE’S FILM HERITAGE
2022-02-01 | ACE – ARTE PARTNERSHIP

Trainee Film Archivist position at the Deutsche Kinemathek

The Deutsche Kinemathek has launched a trainee programme in 2022, generously supported by the Sunrise Foundation for Education and the Arts.

Each year, a new trainee starts their two-year traineeship at our film archive, meaning that two trainees overlap by a year to work and share the experience together and to pass on the baton.

We are now looking for the next trainee film archivist (full-time) from 1 September 2024 to 31 August 2026.

Applications are welcome until 9 June 2024.

Please find the German-language job description and all details here: deutsche-kinemathek.de/de/kinemathek/karriere.


We are looking forward to hearing from you.

Best wishes,

Daniel Meiller and Franz Frank

ACE workshop Bologna, Tuesday June 25th 2024

Venue: MAMbo – Museo d’Arte Moderna di Bologna, Via Giovanni Minzoni 14, 40121 Bologna, Italy/

Morning panel 10:00 – 12:00

An Economic Model of Audiovisual Heritage: film preservation and restoration as tools for audiovisual market development

Panel Chair: Michal Bregant
ACE President and Director of Národní filmový archiv, Prague

Maria Silvia Gatta
Policy Officer, European Commission

Maria Silvia Gatta has been working with the audiovisual policy of the European Commission since 2002, dealing with the MEDIA programme. From 2019, after a period abroad, she has been supervising the implementation of the Creative MEDIA Programme 2021–2027 and following the European policy for film heritage.

John Rodden
Head of Catalogue and Home Entertainment, STUDIOCANAL UK

Responsible for overseeing the commercial strategy and distribution of the STUDIOCANAL Library in the UK.

Simon Ofenloch
Commissioning Editor, ZDF – Subkoordination Fiktion/ARTE

ZDF (Zweites Deutsches Fernsehen) is one of the two national public television broadcasters in Germany, based in Mainz. ARTE is a European public service television channel dedicated to culture. The Subkoordination Fiktion is a department within ZDF that is responsible for coordinating the production of fictional content, often in collaboration with ARTE.

Davide Pozzi
Director, L’Immagine Ritrovata

L’Immagine Ritrovata is a highly specialized film restoration company founded and owned by Fondazione Cineteca di Bologna. The company has labs in Bologna and Hong Kong, and has expanded its operations to France and the Netherlands through lab acquisitions.

Philippe Bober
Founder, Coproduction Office

Based in Paris and Berlin, Coproduction Office is an international distributor and producer of bold, award-winning films. Coproduction Office’s founder Philippe Bober has produced forty-one films to date with thirteen of these having been selected to screen in Competition in Cannes, winning two Golden Palms.

Vincent Paul-Boncour
CEO, Carlotta films

Carlotta Films is a French film distribution company focused on re-releasing classic and cult films, particularly from the French New Wave era, for modern audiences.

Jędrzej Sabliński
Co-owner and CEO, DI FACTORY

DI Factory is a Polish film post-production company. In his role, Sablinski is actively involved in promoting and distributing cinema classics, having produced more that 150 restorations. Latest projects include 21 Polish classics presented by Scorcese’s Film Foundation and a Blu-ray album and the book with all films by WJ Has. 

Afternoon panel 14:00 – 16:30

Exhibiting film collections in the museum space: new approaches and new audiences

Panel Chair: Ellen Harrington
ACE Executive Committee member and Director of DFF – Deutsches Filminstitut & Filmmuseum

Introduction: Gian Luca Farinelli
Director, Fondazione Cineteca di Bologna

Ellen Harrington
Director, DFF – Deutsches Filminstitut & Filmmuseum

Transformation of the Permanent Exhibition through Digital and Inclusion Strategies

The DFF Filmmuseum was fully renovated and a new permanent exhibition was designed a decade ago. Rather than close the galleries and change the entire installation now, a multi-year ‘Transformation’ project was developed to progressively refresh and modernize the storylines and objects, working closely with various age groups and multilingual communities to create a more global and relatable gallery experience, with more accessible text and pathways. At the same time a new digital tool, ‘Constellations,’ was developed with ACMI, to provide a digital overlay to the permanent exhibition, which allows visitors to access curated storylines and archival collections by collecting objects with a simple interactive ticket. Touch screens at the end of the gallery reveal each visitor’s customized collection, which can also be accessed later online. This expands the gallery experience and brings visitors on a journey of exploration and deep-dives, without expanding the square meters of the gallery.

Giovanna Fossati
Director of Collection & Knowledge Sharing, Eye Filmmuseum

Kate Saccone
PhD Candidate, University of Amsterdam

Innovative Museum Installations for Film Collections

This presentation will explore two innovative projects at Eye Filmmuseum that highlight new approaches to showcasing audiovisual collections, developed through collaboration with academic research partners. The Film Catcher is an immersive and interactive installation based on a research project aimed at creating a non-semantic search tool for film collections, which allows visitors to navigate through hundreds of films using visual cues like color and shapes. The Narratives from the Long Tail project aims to transform access to large-scale audiovisual archives. Eye Filmmuseum’s contribution involves digitizing its Mutoscope & Biograph collection for a fully immersive 3D museum installation.

Erika Balsom
Curator and Reader in Film Studies, King’s College London

The Exhibition No Master Territory: Feminist Worldmaking and the Moving Image 

Curator and film scholar Erika Balsom will give a presentation on the project No Master Territory: Feminist Worldmaking and the Moving Image, an exhibition and cinema programme that originated at the Haus der Kulturen der Welt in Berlin in 2022, co-curated by Erika Balsom and Hila Peleg. It staged an expansive encounter with over 100 works of nonfiction film and video by 89 artists and collectives across the spaces of the cinema and the gallery, concentrating on the period of the 1970s to 1990s, a time when women’s liberation movements took hold internationally. Erika will tell us something about the curatorial and historiographic thinking that informed the project and the choice to take the films outside the cinema and into the exhibition space.

Samantha Leroy
Head of Programming, Fondation Jérôme Seydoux-Pathé

Collaborations between film programming and exhibitions

Public screenings in theaters still remain the most significant way to present cinema to the audience whose regaining interest must be fulfilled continuously. However, in order to explore and talk about the history of silent cinema – not to mention its relationship with contemporariness, these screenings need relevant introductions such as presentations, conferences and music accompaniment, just as much to be closely related to exhibitions about cinema. Few examples of collaborations between film programming and exhibitions held at Fondation Jérôme Seydoux – Pathé will be highlighted here.

A fruitful discussion is expected also thanks to the presence of the FIAF Summer School participants.

ACE launches the fifth edition of A Season of Classic Films

Investing in Restoration and Distribution of Films from European Archives

ACE – Association des Cinémathèques Européennes unveiled on 20 May details of this year’s edition of A Season of Classic Films, during the 77th Festival de Cannes. Building on the success of previous years, A Season of Classic Films returns for a fifth edition with free screenings of newly restored films in cinemas and online, to continue to raise awareness about the work of the European film archives and advocate for the significance of film preservation and cinema culture, especially to younger generations. During the first five editions, the programme has supported the restoration and circulation of more than 170 European films.

The restored films of each edition are presented in a catalogue that includes context and contact information to enable further distribution beyond the end of this programme.

 View the full A Season of Classic Films 2024 Programme (PDF) 

 

Full programme and awards of the Joint Film Restoration Grant announced at Cannes

This year’s programme is curated by 24 European film heritage institutions. The films range from early silent classics, to sci-fi and noir films, and to works that foster reflection about humanity, slavery and domination, authoritarian regimes, and memory. The film institutions organise free-admission cinema screenings to present their respective restored films between June and December 2024. These special events feature talks by filmmakers or archivists, masterclasses, live music, educational activities, or parallel exhibitions. Selected films are also globally accessible online at no charge. All films are available with English subtitles. 

In addition to the newly restored films presented by each European archive, a Joint Restoration Grant is awarded as part of A Season of Classic Films to support transnational collaboration between film institutions for film preservation and restoration, for at least three European film archives collaborate on a single restoration.

At the Cannes event, ACE also presented the two recipients of this year’s Joint Restoration Grant of €60.000 shared between Vulo Radev’s humanist film The Peach Thief (1964) and a compilation of spectacular stencil-coloured shorts titled Fantastic Flowers (1906-1920). The jury, comprised of Oscar-awarded filmmaker István Szabó, ARTE’s Feature Film Department Deputy Head Barbara Häbe, and film curator-educator Eva Sangiorgi, selected the winners from applications submitted by Europe’s film heritage institutions.

The Peach Thief is a piece of film history with a powerful humanist message of understanding and brotherhood. In this sense, the central love story is an image of a broader meaning that can be embraced in our time. For us, as members of the jury, it was a discovery and we were touched by the grace and intensity of its language,” the jury writes of its choice. The Peach Thief will be meticulously restored in 4K thanks to the partnership between the Jugoslovenska Kinoteka, the Bulgarian National Film Archive, and the Montenegrin Cinematheque.

The second grant award goes to the restoration of lavishly stenciled-coloured films on the theme of “flowers”, a collaborative effort between the Royal Film Archive of Belgium, Eye Filmmuseum, and Filmarchiv Austria. This restoration programme aims to recreate for today’s audiences the experience of cinemagoers of more than a century ago, but also to provide a historical context to the colourisation debate, which surged as a result of the new possibilities offered by present-day digital technologies, particularly the emergence of AI.

A Season of Classic Films is supported by the Creative Europe programme of the European Union.

 

Joint Film Restoration Grant 2024 – Jury Members

Barbara Häbe is currently the Deputy Head of the Feature Film Department at ARTE. She joined the French TV channel La Sept in 1989, which later became a member company of the European culture TV channel ARTE, and since 1992, she works at ARTE’s head office in Strasbourg. Initially, in charge of coproductions and acquisitions of international short films, Barbara Häbe is now responsible for coordinating feature films and selecting and supporting cinema coproductions proposed by the ARTE Group in the domains of classical movies, young cinema, and international coproductions. She also collaborates with the Association des Cinémathèques Européennes for the ArteKino Classics programme. 

Eva Sangiorgi is currently the artistic director of the Viennale, the Vienna International Film Festival. In 2021, she also became the coordinator of the Film Curating Studies Department at the Elías Querejeta Zine Eskola (EQZE) film school in San Sebastian, Spain.

István Szabó is a legendary filmmaker with an impressive body of work distinguished by its stylistic virtuosity and narrative complexity, often exploring the timeless theme of personal identity and politics. He is the first to bring Hungary the Oscar for Best Foreign Language Film, and his numerous distinctions include Jury Prize, Best Screenplay and FIPRESCI at Cannes, two Silver Bears at Berlinale, a Golden Leopard at Locarno, a BAFTA Film Award, Best Director at Mar del Plata, five Oscar and Palme d’Or nominations, and lifetime achievement awards.


 View the full A Season of Classic Films 2024 Programme (PDF) 

 

ABOUT THE ASSOCIATION DES CINÉMATHÈQUES EUROPÉENNES (ACE)

The Association of European Cinematheques (Association des Cinémathèques Européennes – ACE) is an affiliation of 50 European national and regional film archives. Its role is to safeguard the European film heritage and make the rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE members are non-profit institutions committed to the FIAF Code of Ethics.

 

Instagram: instagram.com/acefilmeu/ 

X-Twitter: twitter.com/acefilmeu 

Facebook: facebook.com/AssociationdesCinemathequesEuropeennes 

 

Summer School Digital Archives 2024

The Filmuni Summer School is organizing the  Summer School Digital Archives in cooperation with the Bundesarchiv as well as with support from the International Federation of Film Archives (FIAF). 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. In our third year we will emphasize machine-assisted processes, offering beginner classes in how to use widely adopted open source tools to support archival tasks: including metadata extraction, transcoding, data enrichment and file maintenance.

Date: 23-27 September 2024

Location: Film University Babelsberg KONRAD WOLF

Cost: 850,- EUR

Registration deadline: 28 July 2024

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 31, 2024.

More information: Website  / PDF

Please, do not hesitate to contact Anja Dornieden if you have any questions.

Filmuni Summer School

Tel. | phone: +49 (0)331-6202-554

Mail: summerschool@filmuniversitaet.de

www.filmuniversitaet.de/summerschool

Projectionists’ Workshop 2024 — Applications Open!

The ACE, in partnership with FIAF, wants to support the ACE member institutions willing to spread and enforce the knowledge and practice of analogue film projection. The idea of the Projectionists’ Workshop project is based on a common will to keep this craft and experience alive, and to support the current and future colleagues in this field by offering them a platform for learning and sharing. 

The original proposal of our colleagues from FIAF, Chicca Bergonzi (Programming and Access to Collections Commission) and Camille Blot-Wellens (Technical Commission) was well received among the film archival community. The Executive Committee of ACE agreed that such a project is invaluable for building the professional community and has decided to support a pilot phase financially. This should help the selected hosting institutions to organize a first series of Projectionists’ Workshops aimed at practicing professionals and motivated participants. It is expected that the workshops will attract participants by region and language, for the comfort of participants and to avoid long travels. 

The workshops should focus on knowledge exchange and best practices, for example in terms of repairs and maintenance, contact lists for suppliers of the equipment and spare parts, connections among projectionists. The workshops should also be open to projectionists not (yet) working for an archival cinema. 

The budget should be moderate, and the contribution from ACE and FIAF can be used towards honoraria, production of educational materials, accommodation, travels, and meals. 

Applications will be evaluated by the representatives of the Executive Committees of FIAF and ACE by the end of May 2024, and the results will be published on the ACE website without delay. It is expected that the first of these workshops should take place during the current calendar year.

Deadline: 17 May, 2024

Download the application form for more details about the process:

FIAF Projectionists’ Workshop Application Form (PDF)

 

2024 FIAF FILM RESTORATION SUMMER SCHOOL PROGRAM

Cineteca di Bologna, L’Immagine Ritrovata, the Fédération Internationale des Archives du Film (FIAF) and the Association des Cinémathèques Européennes (ACE) are thrilled to announce that the 10th FIAF Film Restoration Summer School will take place in Bologna during summer 2024.

The institutions behind the Summer School have come together once again to renew and strengthen their long-lasting cooperation, a bond that aims to pursue the spread of film preservation and conservation through the international community.

The 2024 FIAF Film Restoration Summer School is structured along three main course steps:

  • Film restoration online theory course: distance learning, May 2nd to June 13th (on Wednesdays)
  • Restoration lectures and Il Cinema Ritrovato film festival: Bologna, Cineteca facilities, from June 22nd to 30th
  • Restoration workshops: Bologna, L’Immagine Ritrovata, July 1st to 12th

Application Process

  1. Reading the full course description: 2024 FIAF Film Restoration Summer School – Program (PDF).
  2. Complete your application using this form: 2024 FIAF Film Restoration Summer School – Application (PDF).

The deadline is 16 February, 2024.

 

Participation

The training is conceived for an international target group and will be taught by an international panel of the best experts from different countries. The 2024 FIAF Film Restoration Summer School is aimed at staff working at film archives, institution, or organization, as well as right holders and students in the field of Cinema. The aim is to foster a shared knowledge in the field for current and future generations and world film archives.

All classes will be in English.

Participants will be selected according to their C.V., commitment, and motivation.

The course will be divided into different levels and participants will be grouped according to their skills and expertise according to personal C.V. and experience in that field.

A special commission composed of representatives from FIAF, ACE, and Cineteca di Bologna will examine all applications. The commission will officially release the names of the 40 selected participants via e-mail and on the website of L’Immagine Ritrovata and those of its partners on March 4th.

The participation fee amounts to 4.000€ and includes registration, festival accreditation, accommodation, and lunch for 18 days.

Past editions of the FIAF Film Restoration Summer School have proved to be an excellent meeting ground for people working in the same field. It represents a great opportunity for participants to initiate collaborations on possible future restoration projects.

After completing the FIAF Film Restoration Summer School participants will:

• know how a film can be restored using new digital technologies in a modern, flexible work environment
• be able to manage a complete restoration workflow
• know how to choose the best source to restore a film and have it digitized from film support to 35mm, DCP and file broadcasting
• be able to discuss each step of a restoration project in detail with a restoration laboratory
• know the various approaches to restoration of different FIAF archives
• know how to manage a film restoration project budget

 

For further information, please contact:

2024 FIAF Film Restoration Summer School
Coordinator: Elena Tammaccaro
Secretariat: Charlotte Oddo
Tel: +39 051 552541 – Fax: +39 051 521584 frss@immagineritrovata.it

Europa Nostra partners with ACE to call for support to safeguard European film heritage

For the European Heritage Awards Ceremony 2023, Europa Nostra, the European Voice of Civil Society committed to Cultural Heritage, partnered with ACE – Association des Cinémathèques Européennes to highlight heritage excellence and best practices in Europe in the domain of cinema culture.

European film heritage has been too often overlooked when talking about European heritage and European values. This lack  of a reflection on the history of the European filmic language represents an omission which needs to be redressed. European films and audiovisual works have forged European culture over the last 135 years, since the Lumière brothers invented the big screen thanks to their revolutionary camera and projector, the Cinématographe. In our societies where in particular new generations talk through images and share audiovisual stories, a great opportunity exists for film heritage institutions to help to bridge the past, present and future.

In this last century, cinema-going has become part of our cultural habits in Europe, a source of entertainment, firstly, but also a social experience to share common stories, to imagine and dream of a faraway world, to reflect on contemporary events and politics, to engage with our past, to dig into our consciousness and intimacy. Cinema production has dealt with history, colonialism, women’s rights, sexual identity, social inequality, labour relations, scientific revolutions and many other themes that constitute  the human condition and our common history. And cinema still formulates  questions, like any other art form, and triggers collective – critical and creative – thinking.

Through the Association des Cinémathèques Européennes, the European Commission has embarked on a European policy towards cinema heritage. Established in 1991, ACE is a network of 49 European national and regional film archives that aims to safeguard the film heritage and make it accessible to the public. Europa Nostra applauds the collaboration between the European Commission and ACE and expresses its support to further developing an ambitious EU policy towards cinema heritage, as part of a holistic EU strategy towards the safeguard and enhancement of cultural heritage. This was made visible during this year’s European Cultural Heritage Summit held on 27-30 September in Venice, more specifically during the European Heritage Awards Ceremony which took place on 28 September at the Palazzo del Cinema. 

The safeguard of Europe’s film heritage, an integral part of Europe’s shared cultural heritage, presents two main challenges. With regard to the digitisation of film heritage for dissemination purposes, significant work has been done but it needs to be further  enhanced and constantly renewed. Yet digitisation is by no means a comprehensive way to preserve film heritage. While the state of digital preservation on European level can further develop, the majority of film heritage institutions also hold analogue film materials in their collections. Therefore, film preservation and restoration is the only possible way to ensure that this pillar of European culture is duly transmitted to the future generations. In this context, we wish to stress that preserving and restoring films is a costly endeavour and that many film heritage institutions in Europe are struggling to find necessary resources to restore the films, to find space for the conservation of the film materials as well as to invest in the renewal and training of professionals to secure the same level of competences also in the future. In the light of the above, while expressing our strong support for investments which provide support for digital dissemination of film heritage at all levels, we call for adequate funding at European and national level in support of the restoration and conservation of film archives, for the benefit of present and future generations.

 

Sneška Quaedvlieg-Mihailović, Secretary-General of Europa Nostra

Michal Bregant, ACE President

27 October 2023

 


Read more: European Heritage Awards focus on Film Heritage

Watch the European Heritage Awards Ceremony 2023 on Vimeo.

 

2nd Global Audiovisual Archiving Conference

The 2nd Global Audiovisual Archiving Conference, presented by Archive/Counter-Archive, Eye Filmmuseum, and the Toronto International Film Festival® (TIFF), will take place between 12th – 14th July 2024 in Toronto, Canada.

CONFERENCE THEME: BUILDING ALLIANCES

The biennial Global Audiovisual Archiving Conference is an opportunity for scholars, archivists, artists, curators, filmmakers, students, and film enthusiasts from across the world to gather and explore contemporary professional, artistic, and socio-political issues affecting audiovisual heritage today. The aim of the conference is to broaden the knowledge and connections within the global archival community, leading to new insights into the material and cultural resonances of archival approaches to sound and moving image in different parts of the world.

Learn more >

The call for proposals will close on 1 October 2023.

The conference invites papers and presentations in a variety of formats that address the challenges and generative opportunities afforded by diverse media archives, from those that are publicly/privately funded to those surviving on very little support. We are especially interested in marginalised audiovisual archives, whether collections are vulnerable to disappearance and inaccessibility or archives that are invisible and need to come into being. Central to our conference is the importance of identifying gaps in the field, building bridges, creating archival networks, fostering collaborations (Pretlove, 2021), and uncovering or deepening alliances (Heidiger et al., 2021). Such approaches may be tied to designing practices of care (Campanini, 2023) and pedagogical approaches for the next generation of archivists, artists, activists, humanists, and historians in ways that are inclusive, expansive, liberatory, and that might reinvent and redefine archival language and protocols. The conference also explores the emergence of theoretical questions, and novel ways of understanding history through notions of entanglement (Namhila and Hillebrecht, 2022) and redefinitions of allyship and stewardship that mark a critical paradigm shift in the field of archival studies.

We encourage proposals from participants located in parts of the world and on topics that are underrepresented in conferences related to audiovisual heritage.

The CfP can be accessed here: https://counterarchive.ca/gava-2024

Budapest Classics Film Marathon 2023

Dear Colleagues,

We invite you to attend the National Film Institute Hungary – Film Archive’s next edition of the Budapest Classics Film Marathon. The festival takes place between 12-17 September 2023, and it is open to visitors at all its favorite venues, Uránia National Film Theatre, Toldi Cinema, the French Institute, Budapest Music Center and the hugely popular and spectacular open-air screenings on Szent István Square in front of the Basilica.

This year, the Marathon’s focuses are Alexander Korda and his Universe, Emeric Pressburger,  Michael Powell, André de Toth, Adolph Zukor, Karel Zeman, female creators in Cinema, sport in film and we offer a yearly overview of recent restorations and rare pearls in the Open Archives section.

Our special guests this year among others: Andrew and Kevin Macdonald, Pierre Földes, Lajos Koltai…

The festival’s popular educational program continues: screenings, masterclasses, meet & greets, and a playhouse, all for younger film enthusiasts.

You can register for free accreditation HERE.  

The festival’s professional program the BUDAPEST CLASSIC LAB will take place at the French Institute between 13-15 September at 10 am- 3 pm. During the 3 days conference we will dedicate lectures and round-table conversations on the topics of film restauration, preservation and sharing.

You can read more about the professional program on the following link:  Budapest Classics Lab

Location: French Institute of Budapest, 17 Fő utca, Budapest.
Access is free of charge.

We are pleased to invite you also to join us at the first Budapest Archive Market which will be held on 15th September 2023 at the French Institute. The Market is an excellent opportunity for directors and producers who are working with archive materials and are seeking more partners in the field. The Archive Market welcomes international and domestic archives to exhibit their remarkable collections.

Our aims are to create a vibrant platform that brings together the archives, filmmakers, and film professionals to foster business cooperation and exchange. Don't miss this unique opportunity to celebrate and explore film heritage!

By participating, you will have the opportunity to connect with the Hungarian and international industry professionals and Archives, who can be your future partners in developing your projects.

Regarding the market for any additional information, please contact Asia Dér: Asia.andrejevna@gmail.com

We look forward to welcoming you in Budapest on these events.

Best wishes,

György Ráduly
director of NFI – Film Archive