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Projectionists’ Workshops 2026: Strengthening Analogue Film Projection Skills

Five Projectionists’ Workshops organised across Europe in 2026 brought together cinema professionals to strengthen practical skills in analogue film projection, promote the exchange of expertise, and support the continued preservation and public presentation of film on analogue formats. Below is a summary of the workshops held to date.

Châteauroux/Issoudun, France | 23-24 March 2026

The first of five projectionists’ workshops co-funded by ACE and FIAF in the first half of 2026, this two-day event was held at the Cinema Apollo in Châteauroux and at Ciclic Centre-Val de Loire’s Heritage Department in Issoudun. Its sessions covered all aspects of 35mm and smaller-gauge analogue film projection, with special considerations for the optimal conditions of a public screening as well as supporting preservation aims. It welcomed 17 participants, all practicing projectionists in commercial cinemas or festivals. The workshop was a collaboration between Ciclic Centre-Val de Loire (FIAF Associate), la Scène nationale Equinoxe and the Fédération des cinémathèques et archives de films de France (FCAFF).

Projectionists’ workshop at Ciclic Centre-Val de Loire, Issoudun, 24 March 2026.

Stockholm, Sweden | 28-31 May 2026

The Swedish Film Institute organised a workshop for projectionists in the Nordic countries (Denmark, Finland, Iceland, Norway, Sweden) and Estonia with a focus on analogue film projection from 28 to 31 May at its premises (Filmhuset) in Stockholm. A total of 15 participants were selected: 8 from Sweden, 3 from Norway, 2 from Estonia, and 2 from Finland. The workshop was preceded by an online preparatory programme in April, complemented by selected readings. The four-day, hands-on workshop in Stockholm provided participants with practical training in film inspection, projection using different sound systems, and changeover projection in 16mm, 35mm, and 70mm formats. It also included a workshop on portable 8mm and 16mm projection, as well as sessions on projector mechanics and maintenance. In the concluding discussion, participants were interested in developing strategies to ensure that analogue film projection remains a vital and sustainable part of cinema culture in the Nordic countries.

Projectionists’ workshop at SFI’s Filmhuset in Stockholm.

Düsseldorf, Germany | 30-31 May 2026

On 30 and 31 May, the Filmmuseum Düsseldorf hosted a two-day intensive workshop dedicated to analogue film projection and the handling of historical film materials. The first day focused on analogue film projection, opening with a lecture by Thomas Pfeiffer (Kinemathek Hamburg) on the history of 16mm film. Participants then had the opportunity to work hands-on with a wide range of 16mm and 35mm projectors. The second day focused on archival practice. In the Filmmuseum Düsseldorf’s film archive, 14 participants explored the characteristics of historical film materials, their proper handling, and the conservation challenges involved in their long-term preservation. The workshop provided a valuable platform for professional exchange and the development of practical skills related to analogue film culture.

Projectionists’ workshop hosted by Filmmuseum Dusseldorf at the Black Box Cinema, 30 May 2026.

Bern, Switzerland | 10-11 June 2026

On 10 and 11 June at Lichtspiel / Kinemathek Bern and the Rex cinema, 16 projectionists had the opportunity to refresh their knowledge, improve their handling of film prints and gain valuable insight into the maintenance of cinema equipment. Participants were able to try out various pieces of equipment and immerse themselves in the dual-projector cinema experience. The workshop for the Swiss trainees, in simultaneous translation in German and French, was organised by Lichtspiel / Kinemathek Bern in collaboration with Cinémathèque suisse.

Lichtspiel / Kinemathek Bern’s David Landolf with the participants of the workshop in Bern. Photo: Raff Fluri.

Berlin, Germany | 22-24 July 2026

This Projectionists’ Workshop, held in German and English, is being organised by the Arsenal Filminstitut. Initially due to take place in May 2026, the workshop was postponed until July because of the priority given to the opening of the new Arsenal cinema in early May.

Projectionists’ Workshops 2026-2027

The strong interest and positive feedback from participants confirmed the continuing demand for specialised training in analogue film projection. Building on the success of this year’s programme, a new round of Projectionists’ Workshops co-funded by ACE and FIAF for 2026-2027 was officially announced during Il Cinema Ritrovato in Bologna.

DFF to Host Webinar on the European Data Space for Cultural Heritage

On 22 July 2026, DFF – Deutsches Filminstitut & Filmmuseum will host an online webinar introducing the Common European Data Space for Cultural Heritage to the film heritage community.

As archives, museums and libraries continue to transform the way they manage and share digital collections, the European Data Space is creating new opportunities for collaboration, interoperability and wider access to cultural heritage across Europe.

The webinar is designed specifically for film archives and will provide an overview of the Data Space, its objectives and the opportunities it offers for the audiovisual heritage sector. Participants will learn how the new infrastructure supports the sharing, reuse and long-term value of cultural heritage data.

The session will also explore the growing role of artificial intelligence within the Data Space, including the concept of public AI, and examine how high-quality, interoperable metadata can enable innovative applications and improve access to film collections.

In addition, attendees will be introduced to the emerging dataset format and datasheets, gaining insight into how these developments can facilitate data exchange, strengthen collaboration, and make film heritage collections more discoverable, connected and reusable.

The webinar will conclude with a Q&A session, providing participants with an opportunity to exchange ideas and discuss the future of data sharing in the film heritage sector.

Event details

  • Date: 22 July 2026
  • Time: 11:00 CEST
  • Registration: https://survey.zohopublic.eu/zs/QCBy1H
  • Moderators: Kerstin Herlt and Kristina Rose, DFF – Deutsches Filminstitut & Filmmuseum / European Film Gateway

 

Projectionists’ Workshops 2026-2027

Applications for funding are open until 10 September!

ACE/FIAF-funded projectionists’ workshop in Bern, June 2026. Photo: Raff Fluri.

 

Following the success of the first two years of this scheme, the ACE and FIAF are once again joining forces to support ACE Members and/or FIAF affiliates seeking to strengthen and promote the knowledge and practice of analogue film projection. The Projectionists’ Workshops initiative is based on a shared commitment to keeping this craft alive by providing current and future projectionists with opportunities to learn, exchange experience, and build professional networks.

So far, nine workshops have been funded through this scheme – in Brussels, Lisbon, Frankfurt, Budapest, Châteauroux/Issoudun, Düsseldorf, Stockholm, Bern, and (soon) Berlin. ACE and FIAF have now decided to fund four more workshops over the coming year.

Each selected workshop will receive a total of 2,000 EUR in joint funding from ACE and FIAF to support the organisation of a short Projectionists’ Workshop aimed at practising professionals and motivated participants. Workshops should primarily attract participants from the same region or language area, both for participants’ convenience and to minimise long-distance travel. The financial contribution from the ACE and FIAF can be used for honoraria for invited experts/instructors, production of educational materials, accommodation, travel costs, and meals.

Workshops should focus on exchanging knowledge and best practices, on topics such as repairs and maintenance, suppliers of equipment and spare parts, and professional networking among projectionists. The workshops should also be open to projectionists not (yet) working for an archival cinema.

How to apply?

Please include the following information in your application:

  • Name of the organising institution
  • Region/language of the workshop
  • Contact information of responsible person(s)
  • Place of the workshop
  • Dates of the workshop
  • Hours of the workshop per day/proposed schedule
  • Number and profiles of the instructors
  • Maximum number of participants your workshop can host
  • Estimated itemised budget
  • Please describe the specific aims, content, and structure of the workshop you propose to host
  • Basic description of the projection equipment used during the workshop

Applications must be sent by email to projectionists@fiafnet.org by 10 September 2026. Please make sure you address all the points listed above. Applications received by the deadline will be evaluated by representatives of FIAF and ACE. Successful applicants will be notified by the end of September 2026. The selected workshops are expected to take place by May 2027. Upon completion of the workshop, a written report must be submitted to ACE and FIAF.

Evaluation criteria:

  • Completeness of the application
  • Clarity of the aims and content of the proposed workshop
  • Adequacy of the premises and equipment
  • Affordability of the event for the hosting institution
  • First-time applicants are particularly encouraged

Grant and Reporting:

Each selected workshop will receive a total of 2,000 EUR in joint funding from ACE and FIAF. Following the workshop, the hosting institution must submit a written report and photos of the event to projectionists@fiafnet.org no later than two months after the workshop has taken place. The report will also help ACE and FIAF evaluate the impact and effectiveness of this joint initiative.

 

For institutions based outside Europe: FIAF’s Training and Outreach Programme has begun discussing the possibility of extending this scheme to other regions of the world before the end of the year. If your institution would be interested in hosting such a workshop, please contact us at training@fiafnet.org.

If you have any comments or questions about the ACE/FIAF-funded projectionists’ workshops, please email projectionists@fiafnet.org.

 

ARTEKINO CLASSICS 2026

The fifth edition of ArteKino Classics, a collaboration between ARTE and ACE, launches on 15 June 2026, offering free online access to a selection of restored European films. The programme invites audiences to discover both well-known classics and lesser-known works that have shaped Europe’s film heritage through their distinctive artistic vision and cinematic innovation.

This year’s selection includes several restorations supported through ACE’s A Season of Classic Films programme.

Highlights include the coming-of-age drama Hush-A-Bye Baby from the Irish Film Institute; the satire on institutional elderly care Home Sweet Home from the Belgian Royal Film Archive; Ecce Bombo, the breakout feature by Nanni Moretti presented by Fondazione Centro Sperimentale di Cinematografia – Cineteca Nazionale; Palos Brudefærd / Palo’s Wedding, written by polar explorer Knud Rasmussen and filmed entirely in Greenland, presented by the Danish Film Institute; the Belgrade-set crime thriller Nož / The Knife from Yugoslovenska Kinoteka; and the Oscar-nominated Spanish drama El amor brujo / Bewitched Love, presented by Filmoteca de Catalunya.

Additional titles will be added throughout the year. The films are available free of charge on ARTE’s online platform with subtitles in six languages – English, Français, Deutsch, Español, Italiano, or Polski – and can be viewed in most European countries (availability may vary slightly by country due to rights restrictions).

Ecce Bombo | Italy, 1978, 104′, dir. Nanni Moretti

Amid political disillusionment, uncertain friendships, and existential questions, Michele and his group of young Roman adults struggle to find their place in 1970s Italy. With humor, irony, and insight, Nanni Moretti paints a portrait of a generation in search of meaning, torn between revolutionary ideals and everyday reality.

Restored and presented by Fondazione Centro Sperimentale di Cinematografia (CSC) – Cineteca Nazionale.

Available until 14/09/2026

Home Sweet Home | Belgium, 1973, 91′, dir. Benoît Lamy

In a Brussels nursing home run with an iron fist, Jules leads the residents in a revolt that is as funny as it is moving. The debut feature film by Belgian director Benoît Lamy, this is a tender, libertarian comedy about dignity, solidarity, and the refusal to let age confine us.

Restored and presented by Cinémathèque royale de Belgique / Koninklijk Belgisch Filmarchief.

Available until 14/09/2026

Hush-a-Bye Baby | Ireland – UK, 1990, 77′, dir. Margo Harkin

1984 in Derry, Ireland. Amid political tensions, the weight of religion, and the dreams of adolescence, 15-year-old Goretti sees her life turned upside down when an unexpected pregnancy leaves her isolated and facing judgment from those around her. A poignant coming-of-age story, driven by the strength of a young woman in search of freedom.

Restored and presented by the Irish Film Institute.

Available until 14/09/2026

Palo’s Wedding / Palos Brudefærd | Denmark, 1934, 79′, dir. Friedrich Dalsheim

Written by the polar explorer Knud Rasmussen and filmed in Greenland, Palo’s Wedding follows Palo and Samo, two Inuit hunters who are both friends and rivals, and both in love with Navarana. After a violent clash, the two face off in a duel of song and drumming to decide who will be allowed to ask for her hand in marriage.

Restored and presented by Det Danske Filminstitut / Danish Film Institute.

Available until 15/10/2026

The Knife / Nož | Yugoslavia, 1967, 84′, dir. Živorad “Žika” Mitrovic

In 1960s Belgrade, a young and much-loved singer Aleksandar Kiš is murdered in his flat. His body is discovered by Ana, his model lover. For Inspector Marko and his team, the case seems unsolvable. The subsequent investigation pieces together the victim’s past and reveals the price of his success: Ambition, cynicism and many enemies.

Restored and presented by Jugoslovenska Kinoteka / Yugoslav Film Archive.

Available until 15/10/2026

Bewitched Love / El Amor Brujo | Spain, 1967, 100′, dir. Francisco Rovira Beleta

Based on Manuel de Falla’s ballet *Liebeszauber*, this film tells the story of Candela who is haunted by nightmarish apparitions of her former lover, Diego. Diego was killed in a brawl and continues to haunt Candela as a ghost, keeping her trapped in his shadow. Her new lover, Antonio, struggles to free her from this spell.

Restored and presented by Filmoteca de Catalunya.

Available until 29/10/2026

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

2025-05-08 | ARTEKINO CLASSICS 2025 PROGRAMME
2024-06-18 | ARTEKINO CLASSICS 2024 PROGRAMME
2023-12-31 | ARTEKINO CLASSICS 2023 BACKGROUND AND RESULTS
2023-02-20 | PRESENTATION OF ARTEKINO CLASSICS 2023 DURING BERLINALE
2022-03-29 | ARTEKINO CLASSICS: A NEW LOOK AT EUROPE’S FILM HERITAGE
2022-02-01 | ACE – ARTE PARTNERSHIP

ACE Workshop 2026 in Bologna – AI in Everyday Archival Practice

Photo from the ACE Workshop 2025. Credit: Mikko Kuutti.

 

Tuesday 23 June 2026
9:30 – 16:00
MAMbo – Museo d’Arte Moderna di Bologna, Via Giovanni Minzoni 14, 40121 Bologna, Italy.

Free admission. No reservation needed.

Workshop organised by ACE in collaboration with FIAF’s Technical Commission and Cineteca di Bologna.
Curated by Chicca Bergonzi, Anne Gant, Sophie Tsotridis, Arianna Turci.

9:30 Welcome by Gian Luca Farinelli

9:45 Introduction by Michal Bregant and Thomas Christensen: AI in European film archives.

10:00 – 13:00 Session 1: AI In Film Restoration
Introduction and moderation by Anne Gant (Eye Filmmuseum)

  • Franz Hoeller (Diamant): The use of AI as a support for the Diamant algorithms Examples from the Cinémathèque Royale de Belgique and the Filmarchiv Austria
  • Tiago Borrões (Cineric Portugal): AI Tools for Film Restoration: Color Recovery and Subtitle Removal
  • Nick Verlinden (Cinémathèque Royale de Belgique): Let’s talk about AI & ethics in film restoration
  • Elena Tammaccaro, Céline Stéphanie Pozzi, Francesca Chelu Deiana (L’Immagine Ritrovata): Does AI wear glasses?
  • Brice Amouroux (INA): “AI in audiovisual collection enhancement – Can we? Should we? Examples of some INA practical case studies.
  • Sreya Chatterjee, Uli Ruedel, Franziska Heller (HTW Berlin): Digital Restoration and AI Interventions: Comparative Parameter Studies and the Critical Role of Visual Literacy

Open discussion

14:00 – 16:00 Session 2: AI for research purpose and audiovisual Management
Curated and moderated by Arianna Turci and Sophie Tsotridis (Cinémathèque royale de Belgique)

With this speaker selection we aimed at representing the diversity of AI experimentations when it comes to collection management: from Film Archives (Meemoo, CINEMATEK, TAI), to TV (RTVE), and how collaborating with researchers and GLAM institutions (EPFL, DFF/Europeana) is key to develop future tools.

  • Sophie Tsotridis (Cinémathèque royale de Belgique): Introduction to the afternoon session – Putting AI to Work: Opportunities and Ethical Stakes for Film Related Collections. Presenting current AI use cases in collection management from a film archive and main ethical stakes
  • Aexelle Vanmaele (Meemoo): Metadata creation and enrichment using artificial intelligence at Meemoo. (online)
  • Virginia Bazan GIl (RTVE, FIAT/ITFA): Implementing AI in Spanish Television.
  • Kristina Rose (DFF): DE-BIAS: Detecting and contextualizing biassed language in metadata
  • Fabio Bedoya: TAI – Trust in Archive Toolkit for Collection Management. Presenting how this new resource can be used in Film archives and help introducing AI safely in Collection Management
  • Sarah Kenderline (EPFL Lausanne): Research Meets the Archive: Computational Methods and Public Access for Film Archives. (online)

Open discussion

 

Help Keep ACE’s Photochemical Resources Directory Up to Date

In 2024, on the initiative of Rui Machado, ACE carried out the “Survey on Existing Resources in ACE Film Archives to Work with Analogue Film Heritage” to map the equipment, facilities, suppliers, laboratory resources, and expertise available across its member institutions.

The results remain available on the ACE website and provide a valuable overview of the resources that support analogue film preservation, restoration, duplication, projection, and related activities throughout the network.

As resources and contact details may change over time, ACE is inviting members to review and update their existing entries where necessary. Institutions that have not yet participated in the survey are also warmly encouraged to contribute their information.

Maintaining an up-to-date overview of available photochemical resources benefits the entire film heritage community. It helps archives identify potential partners, locate specialised equipment and expertise, and strengthen cooperation in the preservation of analogue film heritage.

We invite members to submit updates and new contributions before the next ACE General Assembly on 24 June.

Thank you to all institutions that have already contributed. By sharing knowledge and resources, ACE members help ensure that analogue film practices remain visible, accessible, and sustainable for future generations.

 

Fantastic Flowers Now Available Online for Free

Still from La culture du dahlia (France, 1911, Pathé) | Source: CINEMATEK.

A dazzling programme of restored early colour films from A Season of Classic Films

The visually stunning programme Fantastic Flowers, restored through the Joint Restoration Grant of A Season of Classic Films, is now available to watch online for free.

Bringing together 15 extraordinary silent short films produced between 1906 and 1920, Fantastic Flowers offers audiences a rare opportunity to discover the vibrant beauty of early colour cinema. Featuring ornamental gardens, flower festivals, Japanese floral traditions, and fantastical trick films, the programme reveals the remarkable artistry of stencil-colour filmmaking at the dawn of cinema.

The restored films are now freely accessible online, accompanied by a newly recorded electronic score by Max Abysmal.

A Cross-European Restoration Collaboration

Fantastic Flowers was selected in 2024 for the Joint Restoration Grant of the Association des Cinémathèques Européennes (ACE), an initiative of the programme A Season of Classic Films, supported by the Creative Europe MEDIA programme.

The restoration was carried out through a collaboration between CINEMATEK – Royal Film Archive of Belgium, Eye Filmmuseum, and Filmarchiv Austria. The project highlights the importance of cross-border collaboration in film restoration, bringing together complementary expertise, archival collections, and technical resources from different institutions across Europe.

The programme premiered in cinemas last year at the collaborating archives in Brussels, Amsterdam, and Vienna, as well as at Il Cinema Ritrovato in Bologna, accompanied by live music and presentations from the restoration partners.

Fantastic Flowers at Il Cinema Ritrovato, Bologna. Photo credit: 2025 Valerio Greco Photography.

Rediscovering the Art of Early Colour Cinema

Long before modern colour film existed, filmmakers developed painstaking techniques to add colour frame by frame onto black-and-white film stock. The films in Fantastic Flowers were created using the celebrated Pathécolor stencil process or similar historical techniques, producing vivid floral imagery of remarkable richness and precision.

The restoration process involved extensive archival research and advanced digital workflows. Fragile nitrate prints were scanned at 2K resolution using wet-gate technology to recover hidden details and stabilise heavily deteriorated materials.

The project also highlights how contemporary restoration technologies can faithfully reproduce the delicate balance between monochrome photography and manually applied colour effects — an important reminder that cinematic colour experimentation has existed since the earliest years of film history.

As debates around digital colourisation and AI-generated imagery continue today, Fantastic Flowers demonstrates that colour has always been central to cinema’s artistic imagination.

About the Music: Max Abysmal

The newly recorded soundtrack was composed and performed by Max Abysmal, the Sydney-born DJ and producer based in Amsterdam. Known for his work within the city’s underground electronic music scene and appearances at events such as Dekmantel Festival, Max Abysmal created an atmospheric score blending ambient textures, early techno influences, and experimental electronics. The score was recorded from a live performance presented at the Eye Filmmuseum in Amsterdam.

Watch Fantastic Flowers Online

As part of A Season of Classic Films, Fantastic Flowers is now freely accessible online through the streaming platform of Eye Filmmuseum, allowing audiences worldwide to discover this remarkable journey through the artistry of early colour cinema.

Further information about A Season of Classic Films, the restoration of Fantastic Flowers, and ACE’s initiatives is available on the ACE website.

 Watch the programme here 

 

Call for Proposals: “No Time to Wait” at the Filmoteka Narodowa – Instytut Audiowizualny (FINA), Warsaw


The “No Time to Wait” conference is back for its tenth edition, taking place from 14 to 16 October 2026 at the Filmoteka Narodowa – Instytut Audiowizualny (FINA) in Warsaw.

“No Time to Wait” is a three-day conference dedicated to exploring open media, open standards, and digital audiovisual preservation. Organised by the Filmoteka Narodowa – Instytut Audiowizualny (FINA) and MediaArea.net, this event is part of a conference series and represents the tenth installment since its inception in 2016.

The call for proposals is open. Please share your ideas via the proposal form.

For further information, check out the MediaArea website, the FINA website or contact us.

For more background on the “No Time to Wait” conference please review the conference recordings.

Follow @nttwconf for news and updates about “No Time to Wait”.

The conference will be livestreaming on the MediaArea YouTube channel available here.

 

#nttw10