As part of the restoration meetings presented during the mornings of Il Cinema Ritrovato, today the Auditorium DAMS Lab hosted the talk on the two new Cinémathèque française’s restorations: F for Fake and Un chien andalou. While the choice may appear strange, these two films are connected by the importance of the pioneers behind them: respectively Orson Welles and Luis Buñuel.
The restoration of F for Fake, carried out by Les Film de l’Astrophore and the Cinémathèques française in collaboration with Documentaire sur grand écran, the Cinémathèque suisse and the Institut audiovisuel de Monaco and with the help of Hiventy and the L.E. Diapason Studio, was first presented during Cannes Classics and will be screened in Piazza Maggiore tonight at 21:30. To give a detailed explaination of the restoration work, the conference saw the participation of members from Hiventy and L.E. Diapason. F for Fake has parts in 16mm and others in 35mm and Hiventy’s work consisted in creating a more cohesive visual flow, while preserving the photochemical quality of the original copy. For the sound, L.E. Diapason studio had to work on the post-synchronization of the dialogues.
Un chien andalou will be screened in Piazza Maggiore on Saturday at 21.30. The 4k restoration was carried out by the Cinémathèque française and Filmoteca Española in collaboration with Les Grands Films Classiques. The Filmoteca Española has restored Buñuel’s works over the years, but Un chien andalou was a difficult operation for the availability of the original prints. Hiventy’s work started from an original negative and a safety countertype stored in Cinémathèque française and a 2003 analogical countertype from the Filmoteca Española. In order to preserve the film in its best and most accurate form, the speed of the projector must be changed during the screening. The restoration was possible thanks to the contribution from the Creative Europe project in the context of “A Season of Classic Films”.
After a one-year stop due to the pandemic, ACE has returned in Bologna for its annual workshop during Il Cinema Ritrovato festival. The event, hosted by MAMbo – Museo d’Arte Moderna di Bologna, was in collaboration with Europa Cinemas. The ACE workshop, moderated by professor Francesco Clerici, was divided in two sessions. The morning one was an opportunity to discuss the re-opening of cinemas and the presence of new platforms, while the afternoon was dedicated to film education.
After the first two meetings about restoration, curators Sylvie Pras and Massoumeh Lahidji presented the exhibition dedicated to filmmaker, writer, artist and photographer Abbas Kiarostami. The exhibition named Où est l’ami Kiarostami?, echoing the title of one of its most famous films (Où est la maison de mon ami?), is hosted by a very special venue: Centre Pompidou. The closeness to the entrance and the free access are key features of the homage to the Iranian director for the two curators, that want this to be a full immersion in Kiarostami’s body of work.
The exhibition wants to cater to those who are familiar with his work and those who aren’t by facilitating the encounter between the artist and the audience. It offers insights in all the different aspects of Abbas Kiarostami‘s career with graphic works, photographs, film sequences and much more, bringing his poetic way of seeing the world to life.
Où est l’ami Kiarostami? was designed by Centre Pompidou in partnership with mk2 (which has restored Kiarostami‘s films) and the Kiarostami Foundation and it offers a visit route between different modules, where his works clash and collaborate to create something new, over an area of more than a thousand square meters.
Il Cinema Ritrovato hosts during the mornings a series of meeting about restoration. The first one took place in the morning of July 21st at the Auditorium DAMS Lab in Piazzetta Pasolini, where Bruno Mestdagh, responsible for the CINEMATEK‘s Digital Film Collections, presented their restoration of De Man die zijn haar kort liet knippen (L’Homme au crâne rasé), André Delvaux‘s 1965 adaptation of the same-named novel by Johan Daisne.
The brand-new restoration had its world premiere during two free special screenings promoted by A Season of Classic Films in CINEMATEK’s renovated cinema. This is a new digital restoration in 2K from the original negative material preserved and restored by CINEMATEK. The restoration and free screenings are made possible thanks to A Season of Classic Films, an initiative of the Association des Cinémathèques Européennes (ACE) with the financial support of the EU Creative Europe MEDIA programme.
After the première at Cannes Film Festival, the restoration of Roberto Rossellini‘s Francesco Giullare di Dio (The Flowers of St. Francis) carried out by Cineteca di Bologna and The Film Foundation in collaboration with RTI-Mediaset and Infinity+ has been shown in Bologna during the opening day of Il Cinema Ritrovato. The film, featured in the strand named Ritrovati e Restaurati I, was introduced by actress Isabella Rossellini, who also took part in two other events: a conversation with Alice Rohrwacher with the title Cinema in Campagna and the screening of Il Mulino del Po (dir. Alberto Lattuada) in Piazza Maggiore, accompanied by two shorts (Omelia Contadina by Alice Rohrwacher and JR and Green Porno by Isabella Rossellini).
Today’s screening took place in Arena del Sole, one of Bologna’s most beautiful and prestigious theaters. Isabella Rossellini was interviewed by Gianluca Farinelli, the Cineteca di Bologna’s director. The actress explained how her father chose to focus on St. Francis because he is perceived as the people’s saint. Even those who didn’t go to church were interested in him. “This film was born in 1954, after the war, where reconciliation was a very important subject”, continued Isabella Rossellini.
One of the most peculiar aspects of this film is its sense of humor, mostly thanks to Fellini’s collaboration. According to Gianluca Farinelli, Francesco Giullare di Dio represents the denial of the typical rules of entertainment and this is why it can be considered a Manifesto of auteur cinema, inspiring titles such as Pasolini‘s Il vangelo secondo Matteo (The Gospel According to St. Matthew). Isabella Rossellini voiced her hope that this film can be of inspiration for any aspiring director because it teaches the importance of semplicity. She concluded her intervention by sharing a brief anecdote regarding her father: “one time he was invited to a school for a conference and he brought his camera. All the students were staring at it mesmerized but he told them that if he were a writer they wouldn’t have stared at his pen. The ideas matter, not the medium”.
Stéphanie Louis’ book, La cinématheque musée, une innovation cinéphile au coeur de la patrimonialisation du cinema en France, published in March of 2020, spans from the early days of the Cinémathèque Française in the wake of the Second World War to the late 1960s. Chronicling the advent of both mainstream and specialist interest in cinephile heritage over the greater part of three decades, this essential work explores the manner in which the origins of cinematographic museums and institutions transformed the experience of and around film viewership in France, as well as the role of film heritage in the fabric of contemporary French cultural identity.
As part of a new project from the ACE in the promotion of new and significant publications in the field of cinema scholarship, Anna Fiaccarini of Il Cineteca di Bologna spoke with Stéphanie Louis on Monday, the 19th of July about her research. ‘The effect of showing, in this historic work of research, the development of cinematheques everywhere, but in France, clearly, and the prime example of the Cinématheque Française, is how these developments had a strong influence on the practice of cinephilia,’ Fiaccarini said, urging archivists, scholars, and institutions to include the volume in their collections. ‘I have also borrowed the words of Donata Pesenti Campagnoni, who wrote a very nice presentation on Stéphanie’s volume in The Journal of Film Preservation (this summary and additional materials on the text can be accessed on the Association française de recherche sur l’histoire du cinéma’s website) in October of 2020. It is very interesting, because like Donata said here, we really come to understand how we have arrived at this world of cinematheques today, and why we watch and re-watch heritage films.’
The 7th edition of Eye’s annual public lectures series This is Film! Film Heritage in Practice is the first one to be available online. With this series, Eye aims to interest a wider audience for issues related to the preservation, restoration and presentation of film heritage. Throughout 6 sessions, this edition focusses on the overarching theme of re-use and recycle of archival films from different perspectives. All lectures and Q&A sessions with guest speakers are available on YouTube. A selection of films screened during the sessions is available on the Eye Film Player.
Introduction by Giovanna Fossati (Chief Curator at Eye and Professor of Film Heritage at the University of Amsterdam). Q&A in collaboration with the Master students of the This is Film! class at the University of Amsterdam.
Giovanna Fossati, Chief Curator at Eye Filmmuseum and Professor Film Heritage and Digital Film Culture at the University of Amsterdam (UvA), will be one of the new members of the Academy of Motion Picture Arts and Sciences otherwise known as the Oscars. Fossati was selected in the category ‘members-at-large’ for her work in film preservation.
Since 1927, the Academy of Motion Picture Arts and Sciences has annually invited a select group of film professionals who have distinguished themselves due to their contributions to cinema to join the organisation. In line with Academy’s commitment to become more diverse and inclusive, this year’s new members originate from 49 countries outside the USA. 46% of the 2021 selection consists of women and 39% of minorities. In total, 395 new academy members have been announced.
Giovanna Fossati’s invitation to join the Academy constitutes major recognition of her work in the film archival field and, consequently, for Eye and its staff’s efforts to preserve, restore and promote film heritage.
This year’s ACE worshop will take place on July 22nd in Bologna, during il Cinema Ritrovato. The event, in collaboration with Europa Cinemas, will be divided in two different session, one in the morning and one in the afternoon, regarding the re-openings and film education. You can find the programme of the day below.
426 films in 8 days: this is what awaits cinephiles in the 35th edition of the Il Cinema Ritrovato festival, promoted by Cineteca di Bologna. The festival will take place in presence in Bologna, from the 20th to the 27th of July. 8 days of non-stop screenings in 7 different cinemas e every night a screening in Piazza Maggiore and LunettArena. In Biblioteca Renzo Renzi you will be able to find, as usual, the Book Fair, the editorial fair dedicated to publications regarding cinema. A selection from the programme will be available online (worldwide) on MYmovies. Il Cinema Ritrovato will also host ACE’s yearly workshop on July 22nd: don’t miss it!