#film-restoration

#film-restoration

"The film was shot in Ultra Panavision 70 with lenses that yielded an aspect ratio of 2.76 to 1, and it was breathtaking," Scorsese said. "But it wasn't just the size of the image, it was the imprint of the man behind the camera who knew how to fill that frame, how to compose it. And composer seems like the right word to describe George Stevens and the extraordinary level of artistry he reached at that point in his life and career."

That's all changed with this weekend's debut of Kill Bill: The Whole Bloody Affair, a four-and-a-half-hour version of the movie hitting over 1,000 screens across North America. Tarantino made long movies before and after Kill Bill; features that run over two-and-a-half hours make up the vast majority of his filmography. But in the early 2000s, Kill Bill represented a major pivot for the film-maker, away from his then-signature crime dramas with healthy helpings of black comedy.

Anyone who has sat in the dark and watched the beautiful, glowing images of a silent film come to life on the screen has plenty to thank Kevin Brownlow for. Since the 1960s he has been on a quest to collect, preserve and restore these fragile artefacts of early cinema thousands of which were lost, binned, or melted down for their silver content. He even won an honorary Oscar in 2010 for his efforts.

During the holiday season, it becomes all the more apparent that we are all awash in useless stuff. From the once-a-year seasonal outfit to ornaments without sentiment, trinkets we soon discard, and gag gifts that don't make it past opening day, the world pushes us to buy more of it all - stuff that we don't need and, frankly, don't really want. This puts us collectors in a troubling spot.

In a career retrospective talk at the 2015 Toronto International Film Festival, Mamoru Oshii spoke, if not regretfully, mournfully about "Angel's Egg." The legendary Japanese writer and director-who secured his place in animation history with "Ghost in the Shell"-said that his dreamlike, allegorical 1985 OVA film nearly killed his career: "After that, nobody gave me jobs for three years," he said.

The Golden Gate Stereoscopic Society and the Internet Archive present a free public screening of the one and only ROBOT MONSTER (1953) in its original, eye-popping 3-D! Join us on Thursday, October 30, 2025, for a journey back to the golden age of science fiction, when atomic fears and Cold War anxieties gave birth to some of the most wonderfully weird films ever made.

Amazon is planning to use artificial intelligence to recreate destroyed footage from Orson Welles' 1942 film "The Magnificent Ambersons" - but the late directors' estate is calling bull. In a statement to Variety, a spokesperson for David Reeder, whose Reeder Brand Management handles Welles' estate on behalf of the auteur's daughter Beatrice, said that the family hadn't been informed of the project, which is slated to generate with AI the final 43 minutes of the film.

At the center are two men: Eric Weiss, the photographer who captured the pulse of New York's cultural heyday, and Tomek Maćkowiak, a Bay Area craftsman dedicated to reviving the tools of film photography. Their collaboration is not just about nostalgia. It is a meditation on memory, patience and the tactile joy of film in a digital world, reminding us that slowing down can be the boldest act of all.

now available on Blu-ray exclusively through A24's online shop. I think it wallows in way too many of the tropes of "Grief Horror," and is just cruel when it comes to most of them. Still, Sally Hawkins is incapable of delivering a bad performance, and A24 has transferred the movie well to home media, including a commentary, featurette with Hawkins and the brothers, and even postcards.

Brazil opens with a bureaucratic error. A fly gets stuck in a typewriter, changing the surname of Archibald Tuttle to Archibald Buttle, a misprint on a form that dictates the government forcibly detain a suspected terrorist (Tuttle) but instead leads to the arrest of an entirely innocent man (Buttle). If the inciting events of our great science fiction films have been hostile aliens, seductive robots, and reckless technologies, Terry Gilliam begins his with a humble typo.

Somewhere in this city, possibly among these people, is a man... so close to the edge that when he breaks, it could change your life forever.