The Macedonian Cinematheque will mark 27 October, UNESCO’s World Day for Audiovisual Heritage, by promoting the Blu-ray edition of “Miss Stone” (1958). This film is a major achievement in Macedonian cinema and has recently been brought back to life through digital restoration.

Directed by Živorad Žika Mitrović and produced by Vardar Film – Skopje, “Miss Stone” holds a unique place in the nation’s film history. It was the first Macedonian feature film shot in color and in Totalscope, ushering in a new era of technical and artistic ambition for the region’s filmmakers.

Set at the dawn of the 20th century, the film dramatizes the true story of the American missionary Miss Ellen Stone, who was abducted by a detachment of Jane Sandanski of the Internal Macedonian Revolutionary Organization (IMRO) in 1901 with a view to seeking ransom with which to fund the supply of weapons for the Organization. Her abduction, known worldwide as “The Miss Stone Affair,” became an international cause célèbre — intertwining personal conviction, political struggle, and the yearning for national liberation.

The film’s digital restoration was completed in 2024 as part of the A Season of Classic Films initiative, coordinated by the Association des Cinémathèques Européennes (ACE) and supported by the Creative Europe MEDIA programme of the European Union. The premiere of the digitally restored film was held in December, with a screening at the Cinematheque and a live internet stream that allowed viewers from around the world to watch it as well.

When the process of digitally restoring “Miss Stone” began, using a Blackmagic Cintel 35mm film scanner, various film materials were analyzed. The original and duplicate negatives were too damaged due to the 1962 Skopje flood. Restoration was instead done from a later positive sound copy that preserved color information but had lower sharpness. After extensive manual and digital cleaning, stabilization, and color correction, the team achieved the final restored version, now presented in Blu-ray.

For nearly fifteen years, the Cinematheque of Macedonia has been involved in digitizing the Macedonian audiovisual heritage. To date, more than 40 feature, short, and documentary films have been digitized and digitally restored. Although this number may seem small by global standards, it represents around 90 percent of Macedonia’s feature film heritage — an enormous achievement, considering the challenges the Cinematheque has faced throughout these processes.

The Blu-ray release of “Miss Stone” stands as a milestone in Macedonian film preservation. It powerfully demonstrates why safeguarding audiovisual heritage matters—connecting stories on film with new generations, cultures, and nations, and ensuring their legacy endures.

A well-documented timeline that looks back at the origins of the World Day for Audiovisual Heritage, to celebrate the 20th anniversary of this important annual event.

“Alive: Memory and the Art of Remembering”
Featuring the Dialogue Session: “Fifty Years Later: Keeping Memory Alive”
Speakers:
• Kim Hak, Photographer and Visual Artist
• Chea Sopheap, Executive Director, Bophana Center
Moderator: Tim Khuochsopheaktra
Organized by: Bophana Center (ARPAA) In collaboration with: Rei Foundation Limited

Background and Context: 

The World Day for Audiovisual Heritage, celebrated globally on 27 October, honors the importance of audiovisual materials as living records of shared memory. In 2025, this commemoration holds special significance for Cambodia, marking 50 years since the Khmer Rouge’s rise to power in 1975—a time that nearly erased the nation’s culture, identity, and archives.

For nearly two decades, the Bophana Center, founded by Rithy Panh and Ieu Pannakar, has worked to safeguard Cambodia’s audiovisual heritage. Through digitization, public access, and training, the Center ensures that history remains a source of reflection, creativity, and dialogue.

This year’s theme, “Alive: Memory and the Art of Remembering,” highlights the connection between art and archives in sustaining remembrance. The program features a presentation on Bophana’s preservation work, a short keynote by Kim Hak, and a dialogue with Chea Sopheap, reflecting on how remembrance continues to shape identity and understanding.

Concept and Rationale 

The theme draws inspiration from Kim Hak’s acclaimed project Alive, which documents ordinary objects—photographs, scarves, utensils—kept by survivors and diaspora families. These belongings, carried through war and exile, have become vessels of memory and survival.

In his keynote, Kim Hak will share how Alive began: from encounters with survivors to photographing treasured objects and exhibiting them in Japan, New Zealand, and Australia. His work shows how art transforms silence into dialogue and memory into connection.

Chea Sopheap will reflect on Bophana’s mission to preserve Cambodia’s audiovisual legacy and foster intergenerational understanding. Together, both speakers will discuss how artistic creation and archival preservation sustain cultural memory and resilience.

The program concludes with a dialogue session, “Fifty Years Later: Keeping Memory Alive,” exploring how archives, art, and education together preserve historical truth and nurture empathy.

Objectives
• To commemorate the 50th anniversary (1975–2025) through remembrance and creative reflection.
• To celebrate the World Day for Audiovisual Heritage as a bridge between archives, art, and education.
• To highlight Bophana Center’s mission in safeguarding Cambodia’s audiovisual heritage.
• To engage youth, artists, and the public in understanding how memory shapes empathy and identity.

Agenda: (6:00 PM – 8:00 PM)
6:00 – 6:10 PM Opening Remarks Chea Sopheap, Executive Director, Bophana Center
6:10 – 6:40 PM Presentation – Preserving Cambodia’s Audiovisual Memory Bophana Center Team on ongoing archival preservation and youth engagement initiatives.
6:40 – 6:45 PM Keynote Talk – “Alive: Memory and the Art of Remembering” Kim Hak, on the creation and message of Alive, reconnecting memory and survival.
6:45 – 7:50 PM Dialogue Session – “Fifty Years Later: Keeping Memory Alive” Speakers: Kim Hak and Chea Sopheap Moderator: Meta Moeng A public conversation on how art and archives preserve history and inspire empathy.
7:50 – 8:00 PM Closing Remarks Chea Sopheap, Executive Director, Bophana Center
8:00 PM onwards Refreshments & Networking Informal gathering to continue discussion and celebrate shared commitment to memory and art. 

Se proyectará un programa de cine amateur y profesional de materiales en 16 mm análogos y 8 mm digitalizados, pertenecientes al archivo independiente Función Doble. Archivo Fílmico. 

The Institute of Musicology of the Serbian Academy of Sciences and Arts and the National Committee of Serbia at the International Council for Traditions of Music and Dance cordially invite you to the screening of the ethnomusicological film Hopa Lide (directed by Dr. Petr Nuska, 2023), which received an Honorable Mention from the ICTMD Committee for the Documentary Film or Video Prize (2024).

The Roma (often disrespectfully called “Gypsies”) are members of an underprivileged ethnic minority persecuted all around the world. But there is one cultural trait for which they are celebrated globally: their music making. This has been reflected extensively across cinema – classic and contemporary, fiction and documentary – with Romani musicians becoming magnets for various enduring fantasies and prejudices. Hopa lide takes a radically different approach to depicting Romani musicianship. Based on ten years of research in the community of Slovak Romani musicians, it is a collaborative documentary consisting of three chapters. Each depicts the creation of a music video, the musicians leading their self-representation by taking on the role of directors. Uniquely, the camera is always on the move, always improvising. It joins the musicians as they move from the spotlights of large venues to intimate backstages, capturing a mixture of wit, mundane struggle and unfulfilled dreams. From these bittersweet musical lives, deeper questions emerge: What actually is Romani music? What is it like to be a Romani musician? And what does it mean to be Roma in today’s world? The film invites the audience to question deeply rooted stereotypes about Roma from its unusual position as a documentary made with rather than on Roma. (https://hopalide.nuska.me/en/)

By screening this film, we aim to highlight the importance of ethnomusicological film and audiovisual ethnomusicology, to support the enrichment of the corpus of audiovisual heritage, and to promote methodologically innovative forms of scholarly collaboration with minority communities.

The screening will be held in the Hall of the Audiovisual Archive SASA (AVA sala, Knez Mihailova 36/I, Belgrade) on 27 October 2025 at 12:00 h. It will be followed by a discussion with the author, Dr. Petr Nuska (Institute of Ethnology and Social Anthropology SAS, Slovakia – Institute of Ethnology CAS, Czechia), and the discussants – anthropologist Dr. Ivan Đorđević (Institute of Ethnography SASA, Serbia), musician, dramatist and activist Dragan Ristić (“Kal”, Serbia) and the moderator, ethnomusicologist Dr. Marija Dumnić Vilotijević (Institute of Musicology SASA, Serbia). The discussion will start at 13:30 h (CET) and will be open both onsite and online participants via Zoom.

The entrance is free and the program will be conducted in English.

La Cinemateca de Bogotá – Gerencia de Artes Audiovisuales del Idartes, la Fundación Patrimonio Fílmico Colombiano y la Orquesta Filarmónica de Bogotá se unen a la conmemoración del Día Mundial del Patrimonio Audiovisual, proclamado por la UNESCO para sensibilizar sobre la necesidad de proteger, recuperar y compartir los archivos que constituyen nuestra memoria audiovisual.

En este marco celebramos los 100 años de Bajo el cielo antioqueño (1925), una de las obras más emblemáticas del cine silente colombiano. Dirigida por Arturo Acevedo Vallarino y producida por Gonzalo Mejía, la película fue estrenada en Medellín en 1925 como un verdadero acontecimiento cultural y social. A través de un melodrama romántico, reflejó los valores, tensiones y paisajes de la Antioquia de comienzos del siglo XX, convirtiéndose en espejo de un país en transformación y en símbolo de cómo el cine ayudó a forjar identidad regional y nacional. La historia sigue a Lina (Alicia Arango), una joven colegiala que desafía la voluntad de su padre Don Bernardo (interpretado por el propio Mejía) al enamorarse de Álvaro, un bohemio que dilapida su fortuna. El melodrama se entrelaza con escenas que exhiben con orgullo el café, la minería, las fábricas, los almacenes y la Medellín moderna de la época.

Restauración
La película sobrevivió gracias al trabajo de la Fundación Patrimonio Fílmico Colombiano, que en 1997 inició su conservación y preservación a partir de copias incompletas, con apoyo de diversas entidades. Posteriormente en 2019, en el marco del programa Fortalecimiento del Patrimonio Audiovisual Colombiano y con aportes del Fondo para el Desarrollo Cinematográfico, se realizó una restauración digital en 4K a partir de internegativos en acetato generados en la primera restauración fotoquímica en 1997. El proceso incluyó correcciones de luz, contraste y desgaste físico, preservando huellas inevitables de rayaduras y dobleces como parte de su tránsito histórico.

Interpretación musical
Para su proyección en formato de cine concierto, la película contará con música en vivo compuesta por el Semillero de Investigación MotiFilm del Instituto Tecnológico Metropolitano de Medellín (ITM) y será interpretada por la Orquesta Filarmónica de Bogotá (OFB). La plantilla instrumental incluye: 3 violines primeros, 3 violines segundos, 2 violas, 1 violonchelo, 1 contrabajo, 1 oboe, 1 flauta y 1 clavinova. La función se presentará en dos partes con un intermedio de 15 minutos, evocando la experiencia original de los espectadores del cine silente.

El próximo lunes 27 de octubre, Día mundial del Patrimonio Audiovisual, se presentará en sesión gratuita la sesión “Valencia, años cuarenta. El cine amateur de Luis Roig d’Alós”, y la restauración digital de “Castigo de Dios” (Hipólito Negre, 1925)

Colección de películas amateur filmadas en los años cuarenta por el restaurador valenciano Luis Roig D’Alós (1904-1968), recuperadas en 2023 y digitalizadas en 2025 por la Filmoteca Valenciana. En soporte 16 milímetros, mudas y en blanco y negro, reflejan la vida social en la València de la posguerra. Entre ellas encontramos documentos de gran valor histórico y sociológico: la restauración de la Iglesia de los Santos Juanes, la celebración del 25 aniversario de la Coronación Pontificia de la Virgen de los Desamparados, con imágenes inéditas de autoridades políticas y eclesiásticas de la época, o las regatas de veleros en la playa de Nazaret, con el complejo deportivo y de ocio Benimar de fondo, hoy en ruinas.

La proyección, acompañada de música en directo a cargo de Alba Real, tendrá lugar a las 18:00 en la sala Berlanga, presentada por Inma Trull, jefa de Recuperación, y Sara Mansanet, directora de la Mostra de València- Cinema del Mediterrani.

 ‘Castigo de Dios’, por su parte, fue el primer largometraje que restauró la Filmoteca Valenciana tras su creación. Con motivo de su centenario, la Filmoteca ha realizado los trabajos de preservación digital de los materiales nitrato originales. La proyección tendrá lugar a las 20:00 en la misma sala, presentada en esta ocasión por Ignacio Lahoz y Marta García Carrión, historiadores de cine.

Next Monday, 27 October, World Audiovisual Heritage Day, there will be a free screening of “Valencia, the 1940s. The amateur films of Luis Roig d'Alós”, and the digital restoration of “Castigo de Dios” (Hipólito Negre, 1925)

 A collection of amateur films shot in the 1940s by Valencian restorer Luis Roig D'Alós (1904-1968), recovered in 2023 and digitised in 2025 by the Valencian Film Archive. Shot on 16-millimetre film, silent and in black and white, they reflect social life in post-war Valencia. Among them are documents of great historical and sociological value: the restoration of the Church of Los Santos Juanes, the celebration of the 25th anniversary of the Pontifical Coronation of the Virgin of the Forsaken, with unpublished images of political and ecclesiastical authorities of the time, and the sailing regattas on Nazaret beach, with the Benimar sports and leisure complex in the background, now in ruins.

The screening, accompanied by live music by Alba Real, will take place at 6 p.m. in the Sala Berlanga, presented by Inma Trull, head of Acquisitions at Filmoteca Valenciana, and Sara Mansanet, director of the Mostra de València- Cinema del Mediterrani.

 “Castigo de Dios”, meanwhile, was the first feature film restored by the Valencian Film Archive after its creation. To mark its centenary, the archive has carried out digital preservation work on the original nitrate materials. The screening will take place at 8 p.m. in the same theatre, presented on this occasion by Ignacio Lahoz and Marta García Carrión, film historians.

https://ivc.gva.es/es/audiovisuales/pelicula-1882/castigo-de-dios

The Brilliant Biograph is a compilation film of one-minute films by the Mutoscope & Biograph Company, which are also the oldest films in the Eye Filmmuseum collection. These films were shot on the unusual 68mm film format. As early as 1902, this format proved impractical for international film distribution and was abandoned. Only a few hundred copies of these 68mm films remain preserved in four film archives around the world. Eye has the largest collection with nearly two hundred films.

During the UNESCO Executive Board meeting in April 2025, the joint application by Eye, the BFI, MoMA and Cin. Française/CNC was approved and the entire collection was included in the Memory of the World Register.

To celebrate this, Eye Filmmuseum is screening The Brilliant Biograph on Monday 27 October. Prior to the screening, the Dutch UNESCO Commission advisor Tim de Haan will present the Memory of the World certificate to Anne Gant (Sector Manager Collection). The film will be screened with an introduction by Elif Rongen-Kaynakçi, curator of Eye's silent film collection.

The Taiwan Film and Audiovisual Institute (TFAI) is dedicated to the preservation, collection, and digital restoration of Taiwan’s audiovisual cultural heritage.

In response to UNESCO’s World Day for Audiovisual Heritage on October 27, TFAI will announce its annual achievements in preservation and digital restoration. A series of screenings and activities will be held to raise public awareness of the importance of preserving and restoring audiovisual materials.

◢◤ 2025 Annual Digital Restoration Screening ◥◣

World Premiere of The Clown and the Swan (Digitally Restored Version) Pre-screening Talk with Filmmakers

➤ October 24 (Fri), 18:30–21:00 / TFAI Plaza (Outdoor Venue)

The “clown” A-kun, a puppeteer and ventriloquist, performs passionately for audiences who often ridicule him. Beneath the thick makeup and painted smile lies a heart full of sorrow. After being fired by his boss, he finds comfort and companionship with the “swan” A-chu, the star performer of their troupe. Amid the indifference of city life, the two outsiders begin a tender love story. Yet, as A-chu’s career takes off, A-kun’s feelings of inferiority and loss deepen, leading him to quietly walk away. Can the clown and the swan ever find their way back to each other—and to love?

This year marks the 40th anniversary of comedian HSU Pu-liao’s passing. The Clown and the Swan was his final film. True to his stage name’s Taiwanese homonym meaning “endless suffering,” HSU’s inner pain was hidden behind the mask of comedy. His masterful performance—a blend of tragedy and humor—remains an unforgettable chapter in the history of Taiwanese cinema.

Guest: Director Kevin CHU

Extended Activities — Outdoor Screening of The Clown and the Swan

➤ October 24 (Fri), 17:00–18:30 / TFAI Plaza (Outdoor Venue)

• Balloon-Twisting Clown Interaction (17:00–18:00)
• Clown Juggling and Interactive Show (18:00–18:30)
• Free Giveaway: Red Nose Retro Movie Snack Pack

◢◤ Retro Market ◥◣

“Universe of Classics: 2025 Audiovisual Heritage Edition”

➤ October 24 (Fri) – October 25 (Sat), 13:00–18:00 / TFAI Plaza

In collaboration with the well-known flea market Vintage Universe, this event brings together vendors offering vintage goods, retro audiovisual items, handmade crafts, fortune-telling, and gourmet treats. Visitors can also enjoy continuous live performances and free hands-on experiences with nostalgic video game consoles.

(1) Market Zones

Discover four themed zones featuring vintage collectibles, creative crafts, spiritual readings, and handmade snacks — blending nostalgia, artistry, and local flavor in one vibrant market experience.

(2) Free Retro Game Experience

Relive the golden age of gaming with classic titles on Nintendo Famicom and Super Famicom consoles—featuring Super Mario Bros., Street Fighter II, Mario Kart, and more.

(3) Live Performances: Music, Magic, and Juggling

October 24 (Fri)
13:00–15:00 — Performer Joker
15:00–17:00 — Magician Lambo

October 25 (Sat)
13:30–15:30 — Happy Curly
16:00–18:00 — Magician Fei-Yang

◢◤ 2025 TFAI Audiovisual Research Symposium ◥◣

➤ October 18 (Sat), 10:00–17:30 / Multi-Functional Room

The 2025 TFAI Audiovisual Research Symposium celebrates the publication of As If Gods Were Here: Yang Li-hua and Her Era, presenting four years of research on Taiwanese opera films, curatorial practices, and digital restoration to inspire future audiovisual collaboration.

In support of the global mission to preserve these precious records, Montenegrin Cinematheque is proud to present an exclusive screening of a domestic music television program produced by the former TV Titograd:

Music Program – Ksenija Cicvaric
Year: 1976
Director: Slavko Kovacevic

This invaluable program features unforgettable performances by the legendary Ksenija Cicvaric — an artist whose voice and emotion remain a lasting symbol of Montenegrin musical heritage.
With this screening of an archival gem, we are reminded of the importance of preserving audiovisual recordings that shape the cultural identity and collective memory of a nation.

Sala Chalerm Thani Cinema, also known as Nang Loeng Cinema, was originally operated by the Phapphayon Pattanakorn Film Company and first opened on December 18, 1918. Later, when King Prajadhipok (Rama VII) commissioned the construction of the modern and luxurious Sala Chalerm Krung Cinema to celebrate the 150th anniversary of Bangkok in 1932, he also established the Sahacinema Film Company to manage a network of cinemas. Nang Loeng Cinema was transferred to this company and renamed Sala Chalerm Thani. After World War II, the cinema was leased to private operators and became a second-class theater, continuing operations until it closed in 1993.

Today, the building is registered as a historic site by the Fine Arts Department and is owned by the Crown Property Bureau. It has been preserved and restored to closely resemble its original architectural form, making it the oldest surviving cinema building in Thailand.

As part of the World Day for Audiovisual Heritage celebrations in Thailand this year, the Thai Film Archive (Public Organization) and the alliances will install and unveil a commemorative plaque at Sala Chalerm Thani Cinema, recognizing its significance in the history of audiovisual media in Thailand. The public is invited to attend and appreciate the site, along with a discussion on preservation efforts. The tentative schedule is as follows:

09:30 AM – Registration and refreshments
10:00 AM – Plaque unveiling ceremony at Sala Chalerm Thani Cinema
10:30 AM – Panel discussion: Preserving Sala Chalerm Thani Cinema – A Historic Audiovisual Landmark
Speakers: Sompong Chotiwan
               Former Executive of Sala Chalerm Thani Cinema
               
               Assoc. Prof. Dr. Prapat Chuwichian
               Head of Art History Department, Faculty of Archaeology, Silpakorn University
               
               Dr. Rangsima Kulphat
               Researcher in Architectural Heritage Management and Tourism at Carolina Asia Center, University of North Carolina at Chapel Hill

Moderator: Sanchai Chotirosseranee
                Deputy Director of the Thai Film Archive

11:30 AM – Lunch and free tour of the Nang Loeng cinema and neighbore

Schedule subject to change as appropriate.

#SaveOurFilm is an advocacy campaign by the Asian Film Archive (AFA). First launched in 2010, the campaign sought to confront the challenges of preserving both analogue and digital film materials. The 2025 edition highlights the oft-overlooked vulnerability of born-digital works—films created and stored in digital formats that face risks of absolute data loss, format obsolescence and hardware failure. Launched in conjunction with World Day for Audiovisual Heritage, #SaveOurFilm 2025 underscores the urgency of safeguarding our digital cinematic heritage to ensure that future generations can continue to access, study and appreciate the stories and artistry captured in Asia’s contemporary moving images.

If you are a filmmaker or collector and would like to preserve your films, go to AFA’s film submissions application (submissions.asianfilmarchive.org) to submit a screener of your film.

If you wish to contribute to support the work of the AFA in preserving Asian cinematic heritage, volunteer with AFA (asianfilmarchive.org/volunteer/) or donate to the campaign (giving.sg/donate/campaign/saveourfilm-2025).

Jornadas de Archivo Audiovisual: “Del discurso a la acción: archivos audiovisuales en
movimiento”

Conmemoración del Día Mundial del Patrimonio Audiovisual – 27 de octubre de 2025

Presentación
La UNESCO proclamó el 27 de octubre como el Día Mundial del Patrimonio Audiovisual
para generar conciencia sobre la importancia de la preservación de los documentos
audiovisuales como forma de salvar nuestra memoria e historia.
Estas jornadas tienen como objetivo presentar y convocar a la conformación de la Red de
Acervos Audiovisuales, conmemorando el Día Mundial del Patrimonio Audiovisual,
planificando acciones para 2026 y creando paradigmas que nos guían en ejes concretos de
trabajo en red. A través de estas actividades, se promoverá la colaboración entre archivos
provinciales, nacionales, municipales, privados, bibliotecas y centros de documentación,
con especial énfasis en los desafíos de la transición de lo analógico a lo digital.

Información General
● Fechas: 27 de octubre
● Duración: 1 día
● Modalidad: presencial y transmisión en línea
● Inscripción: previa para participantes y público en general
● Materiales: se entregará un dossier informativo con detalles de mesas de debate,
participantes y proyecciones

Día 1 – 27 de octubre | 9:00 a 16:00 hs.
Ubicación: Auditorio ENERC

1. Apertura y Presentación (9:00 – 9:30)
● Bienvenida oficial
● Introducción sobre la importancia de la preservación del patrimonio audiovisual y
contexto histórico del Día Mundial

2. Conversatorio Red de Archivos Audiovisuales (9:30-10:15)
Pausa Café

3. Mesa de Experiencias: Lo Posible, Lo Ideal y Lo Urgente (10:30-12:15)

Representantes participantes de:
● Archivo Audiovisual Municipal de Avellaneda (AAMA): “Contar la vida cotidiana
para no olvidar quienes somos”
● Fundación Cinemateca Argentina
● Cineteca Vida
● Archivo LF: “Fondo Leonardo Favio”
● Luminton Usina Audiovisual
● Cinemateca Nacional INCAA

Metodología :
● Cada expositor/a dispondrá de 10-15 minutos
● Moderación en cada mesa
● Espacio abierto para preguntas y comentarios del público

5. Proyecciones: (12:30-13:15)
● Fundación Cinemateca Argentina (FCA): La Revolución de Mayo
● Archivo Audiovisual Municipal de Avellaneda: Archivo vecinal
● Cineteca Vida: Entre pitos y flautas (corto recuperado de Quirino Cristiani

● INCAA: Las Naciones del Mundo (Reneé Oro)

6.Archivos Audiovisuales y Centro de Documentación : Desafíos y Oportunidades (14:15
15:30)

Archivo Estudios San Miguel
Escuela de Musicología Carlos Vega
Archivo Histórico ENERC
Biblioteca INCAA Beatriz Zuccolillo de Gaffet

Organiza:
INCAA – ENERC – Cinemateca Nacional INCAA – Archivo Audiovisual Municipal de
Avellaneda – Archivo LF – Fundación Cinemateca Argentina – Cineteca Vida – Facultad del Museo Social Argentino

October: Audiovisual Heritage Month

In celebration of World Day for Audiovisual Heritage, observed on October 27, the Cinemateca do MAM presents a special program highlighting the power of the archive as a space of memory, creation, and cultural resistance.

On October 27, Cine POP will screen Othelo, o grande (Brazil, 2023), an award-winning archival documentary about one of the greatest actors in the history of Brazilian cinema. On October 28, Barreto, fotógrafo das lentes nuas, directed by Miguel Freire, will be shown as a tribute to the great producer Luiz Carlos Barreto.

Finally, on the Cinemateca’s online channel, throughout the month of October we will present the showcase Workshops and the Audiovisual Archive: Spaces of Creation and Queer Identity, featuring short films produced in international workshops that explore digitized archives as tools for artistic invention and the affirmation of dissident memories—reaffirming the importance of audiovisual heritage in preserving cultural diversity and strengthening new narratives in contemporary cinema.

SEG 27 OUT . 14h
Cine POP especial. Dia Mundial do Patrimônio Audiovisual. Othelo, o grande, de Lucas H. Rossi dos Santos. Brasil, 2023. Documentário. 82’. Em DCP. Classificação indicativa livre. Sessão em parceria com o Centro Pop Barbara Calazans (1ª CAS – Primeira Coordenadoria de Assistência Social da Secretaria Municipal de Assistência Social)

TER 28 OUT . 18h30
Dia Mundial do Patrimônio Audiovisual. Barreto, fotógrafo das lentes nuas, de Miguel Freire. Brasil, . Documentário. 68’. Sessão seguida de conversa com Miguel Freire, Carlos Alberto Mattos, Sérgio Santeiro, Paula Barreto e Lucy Barreto. Em DCP. Classificação indicativa 12 anos.

ONLINE

SEG 6 – SEX 31 https://vimeo.com/showcase/oficinasearquivos
Oficinas e Arquivo Audiovisual: Espaços de Criação e Identidades Queer. Sou uma lésbica desse país (Soy una lesbiana de este país), de Rocío Llambi. Uruguai, 2024. 8’.  0 Basco (0 Basque), de Amets Zulueta. País Basco, 2024. 8’.  Todos os bairros possíveis (Todos los barrios posibles), de Matteo Giampetruzzi. Itália, 2024.  Memórias sem vergonha, Buenos Aires, 1979 (Memorias sinverguenzas, Buenos Aires, 1979), de Alejo Duclós. Argentina, 2024. 5’.  A raiz (La raiz), de Isabel Sáez. País Basco, 2024. 8’.  Ensaios de Corpos Ausentes (Ensayos de cuerpos ausentes), de Karen Plata. México, 2024. 6’. 

SEG 27 . 15h   https://www.youtube.com/@MAMRio
Conversa com Luiza Rosado, Alejo Duclós, Rocío Llambi, Amets Zulueta, Matteo Giampetruzzi, Isabel Sáez, Karen Plata sobre Oficinas e Arquivo Audiovisual: espaços de criação e identidade queer.

MANILA, PHILIPPINES – The Film Development Council of the Philippines (FDCP) proudly announces the premiere of the digitally restored version of ‘Sisa’ (1951), directed by National Artist for Film and Broadcast Arts Gerardo de Leon. This special screening is set for October 27, 2025 (Monday) at the Metropolitan Theater, in celebration of the World Day for Audiovisual Heritage. This restoration, undertaken by  the Philippine Film Archive, forms part of the FDCP’s ongoing efforts to safeguard the country’s cinematic heritage. This event also marks the agency’s second restored film premiere for 2025.

The premiere is organized under ‘Mga Hiyas ng Sineng Filipino’, a collaborative program of the Film Development Council of the Philippines (FDCP) and the National Commission for Culture and the Arts (NCCA) dedicated to bringing restored and classic Filipino films back to theaters. 

The screening also affirms the FDCP's belief  that preserving films keeps our shared cultural memory and national identity alive for generations to come.

Based on the tragic figure from Jose Rizal’s Noli Me Tangere, Sisa tells the story of a mother’s desperate search for her missing sons, Crispin and Basilio, ultimately leading to her own demise. Beyond its heartbreaking narrative, the film highlights the enduring strength and resilience of women in the face of adversity. 

The screening will be followed by a talkback session to discuss the film’s historical and cultural significance, its representation of women’s stories, its impact on shaping the cinematic language of Philippine film history, and the importance of preserving these films as historical records.

Released in the seminal year of 1927, Australia's greatest silent film epic was based on a classic novel about the colonial era of the 1800s, when convicts were transported from Britain to the other side of the world to build a nation in the antipodes. It traces the life of Rufus Dawes, exiled into the savagery of the convict system for a crime he did not commit.

Like its contemporaries, TERM's commercial success internationally was cut short by the arrival of sound, and it disappeared from view. In 1981, it was reconstructed using two incomplete release prints and other fragmentary sources to create an approximation of the original Australian release version, complete with tints and tones and the original orchestral music.

To create the spectacular scene of a sailing ship at sea engulfed in flame, the production company emptied its nitrate film vaults to provide fuel for the blaze. One can literally watch Australian film history going up in smoke.

The screening in Melbourne's iconic Capiitol Theatre will be introduced by film historian Graham Shirley, who carried out the reconstruction. It will be complemented by a pre-screening performance of contemporary popoular music by the Capitol Orchestra.   

Today, many consumers can swiftly obtain goods and services from across the globe with the click of a button - often with limited knowledge about where they come from. However, this was not always the case - throughout the 20th century, Singapore's economic landscape comprised a rich tapestry of unique trades and professions, shaped by the needs and wants of its diverse population. These trades were constantly in flux, and responded to shifting cultural norms, the introduction of new technologies, as well as the economic and political circumstances of the developing nation.

By compiling archival materials from the 19th and 20th century documenting these vanishing trades, this curated page paints a vivid picture of daily life in Singapore - what we wore and ate, how we travelled and amused ourselves, and how we worked together with other species.

Award winning journalist and ABC historian Dr Margaret Simons will deliver the 2025 Rod Wallace Memorial Lecture. She will discuss the predicted end of terrestrial television, review the recent history of the Australian public broadcaster and why it is still needed, and what publicy funded 'broadcasting' means for Australian film and sound, now and in the future.

The Rod Wallace Memorial Lecture comemorates the pioneering achievement of Rod Wallace AM. During 32 years of service at the National Library of Australia (1945-1977) as an innovator, advocate and mentor, he oversaw the development of its special collections, including film, music and sound recordings, and laid the foundation for the creation of the National Film and Sound Archive in 1984 as a separate institution. The lecture series aims to reflect aspects of the preservation, accessibility and dissemination of the audiovsual heritage.

The lecture will be recorded and posted on the Friends' YouTube channel.

Singapore launched colour television on 7 July 1974 with the World Cup final, sparking a buying frenzy that saw 2,000 TV sets sold in just one day despite their hefty price tag. The transition from black-and-white to colour required a $20 million infrastructure overhaul and extensive staff training but paved the way for Singapore's broadcasting revolution. 

The 1980s saw Singapore Broadcasting Corporation create hit Chinese dramas like "The Coffee Shop," which was the first local Mandarin series to exceed one million viewers. While English productions had mixed results – "Phua Chu Kang" succeeded where "VR Man" failed – the industry proved Singapore could produce compelling homegrown content.  

Today's streaming-dominated world with sleek flat screens differs vastly from the wooden TV cabinets of yesteryear, yet manufacturers continue chasing the same dream of perfect colour that captivated viewers 50 years ago.

Click the link to sign up for this fascinating look into over half a century of colour television in Singapore!

This year, as part of our celebrations of the World Day for Audiovisual Heritage, we organize “The Works of Asian Female Directors”, a screening program which features our archived films directed by Vietnamese female filmmakers including Việt Linh, etc. We will also hold a talk event by inviting Ako Akiba, a well-known interpreter/translator.  She is one of the leading experts in Japan in the field of Vietnamese films and will give a talk on Saturday, October 25th at our cinema hall.

Photo: "Devil’s Mark" Dir. Việt Linh, 1992.

Screeings at: 

Zavod SCCA-Ljubljana & Slovenska kinoteka | Slovenian Cinematheque

Like Lucid Dreams – key figures in international avant-garde cinema: Ken Jacobs and Corinne & Arthur Cantrill

For the World Day for Audiovisual Heritage, which takes place every year on October 27, Arsenal presents two programs in Ljubljana with films by central protagonists of international avant-garde cinema, Ken Jacobs as well as Arthur and Corinne Cantrill, shown primarily in the analog 16mm format.

The Lichtspiel is actually celebrating Audiovisual Heritage Day 365 days a year. As an archive, museum and cinema, we are involved in collecting, preserving, restoring and communicating film in all its historical forms. In 2025, we want to use this special day in October to present our latest restorations, focusing on young people and children, school films and the work of the Basel Social Welfare Office.

We present the program in our cinema as well as on live stream.

*Bar opens at 7 pm, Films 8 pm

A round table, part of the 17th National Archivists Conference in Korea (from 31 October to 1 November 2025), explores the challenges and prospects of opening public broadcasting archives to citizens in the digital era. Organized in commemoration of the World Day for Audiovisual Heritage 2025, the round table brings together researchers, archivists, and media professionals to discuss how public broadcast content can be reimagined as both historical evidence and a civic resource.

Broadcast archives—containing decades of policy programs, news footage, and cultural records—constitute the audiovisual memory of the nation. Yet despite their historical and cultural value, much of this content remains inaccessible to the public due to fragmented management systems, copyright restrictions, and inconsistent metadata practices. This session highlights recent initiatives in Korea that aim to transform these archives into open, searchable, and reusable platforms for public engagement and creative reuse.

The first presentation, by Hyojin Choi (HUFS Institute of Information and Archival Science), introduces the national strategy for the 2025 full-scale open release of the Korea Public Policy Broadcasting Service (KTV) audiovisual archive. The presentation reviews the legal, institutional, and technical groundwork required for open access—particularly the reform of copyright and public property regulations, the standardization of metadata, and the use of AI-driven metadata extraction and curation tools to enhance accessibility and discoverability.

The second presentation, by Mingi Moon (Korea University), showcases the collaborative initiative between KBS (Korean Broadcasting System) and the National Museum of Korean Contemporary History. This project demonstrates how public broadcast materials can be reinterpreted through new metadata models, narrative curation, and contextual storytelling to reconnect audiences with modern Korean history.

The round table concludes with a panel discussion among experts from KTV, KBS, and the archival field, addressing sustainability, governance, and technological innovation in audiovisual heritage management. Key questions include: How can public broadcasters balance copyright protection with open access? What infrastructures are needed to support AI-based metadata enrichment and long-term preservation?

By sharing Korea’s current practices and future directions, this round table seeks to foster international dialogue on the social and democratic value of opening broadcast archives. It underscores that audiovisual access is not only a technical challenge but also a civic endeavor—allowing citizens to reclaim their shared audiovisual memory as a living cultural heritage.

Con motivo del día internacional del patrimonio audiovisual se realizará en cine concierto con la proyección restaurada, realizada por la Fundación Patrimonio Fílmico Colombiano, de la película centenaria Bajo el cielo antioqueño (1925-2025) en la Cinemateca de Bogotá. Octubre 27 -18:00 horas

A Milestone in Spanish Film Heritage

The IIEC–EOC Collection, featuring student works from Spain’s historic film schools, was declared an Asset of Cultural Interest (BIC) in 2025. Preserved by Filmoteca Española, it stands as one of the country’s most important public audiovisual archives, having trained iconic filmmakers and shaped key movements like the New Spanish Cinema.

The collection is available on Platfo.es (PlatfoFilmo), a Spanish public and free online film platform dedicated to the promotion of Spanish cinematographic and audiovisual heritage.

________________________________________

The Collection of practical works from the Institute for Cinematographic Research and Experiences (IIEC) and its successor, the Official School of Cinematography (EOC), was recognized in May 2025 with the declaration of Asset of Cultural Interest (Bien de Interés Cultural, BIC) in the category of movable heritage. This BIC designation represents the highest level of protection under Spain’s Historical Heritage Law (Law 16/1985).

The film and documentary archive of the Film School is, alongside the No-Do collection, one of the most comprehensive publicly owned audiovisual holdings preserved by Filmoteca Española. The institution began its activities in 1947 as the IIEC, based at the School of Industrial Engineers in Madrid. In 1962, it was renamed the Official School of Cinematography (EOC) and moved to Dehesa de la Villa, where it operated until its closure in 1976.

The school offered training in eight specializations: directing, production, set design, acting, screenwriting, cinematography, sound, and laboratory techniques. Among its students were filmmakers such as Luis García Berlanga, Juan Antonio Bardem, Manuel Gutiérrez Aragón, Iván Zulueta, Víctor Erice, and Basilio Martín Patino, among many others. Guided by figures like Carlos Saura, Mario Camus, Francisco Regueiro, and Joaquim Jordà, movements such as the New Spanish Cinema and the Barcelona School emerged.

During its later years, the school also pioneered the graduation of female filmmakers, including Josefina Molina, Cecilia Bartolomé, and, later, Pilar Miró in screenwriting.

"Diarios del exilio" (Irene Gutiérrez, 2019) / Screening accompanied by live music

"Diaries of Exile" is a powerful documentary that challenges the “official” narratives promoted for decades by the No-Do newsreels. Through intimate family memories that the dictatorship tried to erase, director Irene Gutiérrez offers a deeply personal and moving counter-narrative.

Produced by Filmoteca Española in collaboration with the Cineteca of Mexico and several regional film archives, the film will be featured at Doré Cinema in a special World Day for Audiovisual Heritage screening, accompanied by live music.

The screening on October 10 features an introduction by series curator, writer, and producer Alicia Fletcher. The film screens again on October 26 with an introduction by TIFF Film Reference Library Senior Manager Natania Sherman in celebration of the UNESCO World Day for Audiovisual Heritage.

35mm print!

A quasi-medieval, gothic-inspired retelling of Lewis Carroll’s Alice’s Adventures in Wonderland by way of F.W. Murnau’s Nosferatu, Jaromil Jireš’s Valerie and Her Week of Wonders is a ravishing nightmare. An adaptation of poet Vítězslav Nezval’s 1935 novel, Valerie stars a luminescent 13-year-old Jaroslava Schallerová in her debut as a young girl on the verge of womanhood. When her draconian grandmother makes Valerie a sacrificial offering to the town vampire in a pursuit of eternal youth, she must rely on the magic of her inherited pearl earrings to outwit her various adversaries. The last truly independent work of the Czech New Wave, it was buried by the Soviet regime upon its release due to its political and sexual dissidence. A subversive work of phantasmagoria, Valerie was unlike anything else produced prior and remains a singular, beloved oddity within the small sub-genre of the psych-folk film.

Print courtesy of Národní filmový archiv.

Título: Día Mundial del Patrimonio Audiovisual 2025: Dos cortos restaurados de Edgar Cevallos
Fecha: Lunes 27 de octubre de 2025
Hora: 18h00

Descripción:
La obra cinematográfica de Edgar Cevallos ocupa un lugar crucial en la historia del cine ecuatoriano. Como parte de la llamada “generación del 80”, Cevallos rompió el silencio de décadas sin producción nacional con una serie de cortometrajes que combinaron literatura, crítica social y experimentación formal. Revisitar el cine de Cevallos es reconocer una propuesta estética y política que ayudó a pensar el Ecuador desde sus imágenes.

Presentamos dos obras fundamentales de la filmografía de Cevallos: Daquilema (1981) y Una araña en el rincón (1982); restauradas por Felipe Colmenares.

Cine foro con Edgar Cevallos, director de las películas.

Al final del evento se entregará en físico nuestra revista cinematográfica Cuadernos de Cinemateca número 6.

Un año más, en el mes de octubre, la Biblioteca Nacional de España celebrará la Jornada Mundial del Día del Patrimonio Audiovisual. Este año la jornada coincide con la exposición Máquinas parlantes: el arte de atrapar el sonido, que estará abierta en la BNE hasta febrero de 2026.

La jornada se estructurará en torno a dos mesas redondas: una primera dedicada a los archivos públicos, en la que se reunirán representantes de diferentes organismos públicos que se ocupan de la conservación, estudio y difusión del patrimonio sonoro. Su trabajo garantiza que las formas de escuchar, grabar y compartir sonido que marcaron distintas épocas no se pierdan y sigan dialogando con el presente.

Una segunda mesa que se centrará en las colecciones particulares, construidas desde la iniciativa personal, reunidas con paciencia, rigor y una fuerte implicación emocional. La mirada personal de cada coleccionista imprime carácter a estos fondos, que muchas veces combinan el rigor documental con una sensibilidad particular hacia ciertos repertorios, géneros o formatos.

Participan
Primera mesa:
Marisa Ruiz, Museu de la Música de Barcelona
Jaione Landaberea, Archivo vasco de la música
Rafael Herrandón, Escuela Técnica Superior de Ingeniería y Sistemas de Telecomunicación
Modera: Áurea Domínguez, co-comisaria de la exposición
Segunda mesa:
Jose Luis Mur, Museo de los Ingenios Musicales de Labuerda (Huesca)
Carlos Martín Ballester, Colección Carlos Martín Ballester
Luis Delgado, Museo de la Música de Urueña
Modera: María Jesús López, co-comisaria de la exposición
Taller de grabación acústica:
Áurea Domínguez, co-comisaria de la exposición
Pedro Martinez Díaz, empresa Pedrofono
Olga María Ramos, cupletista, escritora, compositora, cantante, actriz y locutora.
El acto finalizará con la grabación y reproducción en directo de un cilindro de cera, en un fonógrafo, de la voz de la cupletista Olga María Ramos. La grabación y explicación del proceso estará a cargo de Pedro Martinez Díaz y Aurea Domínguez.

Twitter #AudiovisualHeritage
 @BNE_biblioteca #Biblioteca Nacional de España

Around 27 October, Swiss institutions are coming together across the country to open the doors to audiovisual heritage and showcase the priceless value and diversity of their collections.

The National Archives of Malta is hosting a special retrospective to honour Cecil Satariano (1930–1996), a pioneering Maltese filmmaker, critic, and author. Between 1969 and 1978, Satariano directed five award-winning films and two travelogues, all of which were shot on small-gauge film. His second film, the acclaimed Giuseppi (1971), won 20 international awards. His final film, Katarin (1978), marked a landmark achievement as the first Maltese film to be acquired by a major foreign film distributor. 

In a historic milestone for Malta’s cinematic heritage, Satariano's five films have now been digitised and meticulously restored by the 'The Cecil Satariano Film Restoration Project' led by Veronica Galea. This will allow a new generation to experience his work, now forming part of the National Archives of Malta, as never before. This special event will feature screenings of these newly restored films and, through panel discussions and presentations, offer a detailed insight into Satariano’s enduring influence. 

Day 1  

Join us for two Presentations and two screenings 

Presentation 1

Cecil Satariano, Life and Work delivered by Jean Pierre Borg 

Presentation 2 
The Cecil Satariano Film Restoration Project delivered by Veronica Galea and Tom Bakels 

Film 1 
Giuseppi (1971, Super 8, 22 minutes) 

Film 2 
Let Them Be (1971, Super 8, 11 minutes) 

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Day 2  

Join us for two Panel Discussions and two screenings 

Panel 1 
Cecil Satariano Remembered: Cecil through the eyes of family and those who worked with him 

Panelists: 
Madeleine Vella Satariano, Mario Philip Azzopardi, Marie Benoît, Jo Debono,  

Panel 2  
Cecil Satariano’s Significance in Malta’s Cinematic Heritage 

Panelists: 
Rebecca Anastasi, Charlie Cauchi, Kenneth Scicluna 
 
Film 1 
I’m Furious – Red! (1970, Super 8, 33 minutes)  

Film 2 
A Touch of Dutch (filmed in 1973, Super 8, 7 minutes) 

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Day 3 

Screening of Cecil Satariano’s five restored films 

I’m Furious – Red! 
(1970, Super 8, 33 minutes) 
Giuseppi  
(1971, Super 8, 22 minutes) 
The Beach 
(1973, Super 8, 23 minutes) 
Ilona 
(1974, Super 8, 15 minutes) 
Katarin 
(1978, 16mm, 42 minutes) Suitable for persons twelve years and over. 

This year's Yamagata Creative Cities International Conference is held in conjunction with UNESCO's World Day for Audiovisual Heritage. Our special guests include an expert from Busan, South Korea - a UNESCO Creative City of Film - together with three leading figures from Japan.

How can we preserve valuable film materials in our communities, ensure access to them, and pass them on to the next generation? Join us as we explore creative approaches and share ideas for safeguarding our cinematic heritage.

Admission Free

Yamagata Creative Cities International Conference
October 11, 2025, 14:00–16:00 at YAMAGATA CREATIVE CITY CENTER Q1 2F Event Space

Panelists

Shin Sung-eun
Film Archive Manager, Busan Asia Film Archive - Busan Cinema Center

Chisato Inagaki
Art Coordinator, Kamoe Art Center / Keisuke Kinoshita Memorial Museum

Keiji Matsumoto
Film Archivist, Fukuoka City Public Library Film Archive

Atsuko Morimune
Moving Image Culture Specialist, Hiroshima City Cinematographic and Audio-Visual Library

Commentator
Itaru Kato
Chairperson, Yamagata International Documentary Film Festival

Facilitator
Kae Ishihara
Researcher, Yamagata Documentary Film Library

Email: info@yidff.jp
Tel: 81-(0)23-666-4480

Hosted by Yamagata City, Yamagata Creative City Promotion Council, and Yamagata International Documentary Film Festival
Supported by Yamagata Autumn & Winter Arts Festival Committee

Related Screening
October 10, 2025, 12:30–14:30 at Forum Yamagata 1

"Film, the Living Record of Our Memory"
2021 / 120 min © EI Grifilm Productions
Director: Inés Toharia Terán

Supported by Kobe Planet Film Archive

In collaboration with SCCA Ljubljana we are hosting Arsenal on location with two programs of films by central protagonists of international avant-garde cinema, Ken Jacobs as well as Arthur and Corinne Cantrill, shown primarily in the analog 16mm format. The programs will be presented by Angelika Ramlow from Arsenal Berlin.

Since the 1950s, Ken Jacobs has explored in his films the relationship between surface and depth, often working with found-footage material, which he manipulates in a wide variety of ways to provoke a new perception of images. CAPITALISM: SLAVERY (USA 2007) and CAPITALISM: CHILD LABOR (USA 2006) are based on historical photographs that are animated with various effects and brought to life anew. PERFECT FILM (USA 1986) and THE DOCTOR’S DREAM (USA 1978) demonstrate two diametrically opposed approaches to the use of found footage. ORCHARD STREET (USA 1955/2014) is the first film made by Ken Jacobs, an observation of New York’s Jewish-inflected Orchard Street.

The filmmakers Corinne Cantrill (1928–2025) and Arthur Cantrill (*1938) explore in their films the material properties of film as well as the visual and acoustic nature of the Australian landscape. AT ELTHAM – A METAPHOR ON DEATH (Australia 1974) shows a view of a river in the interplay of day and night, light and dark, accompanied by the sounds of nature. WARRAH (Australia 1980) was shot on a sandstone- and jungle-covered coastline in New South Wales using three-color technique. NOTES ON THE PASSAGE OF TIME (Australia 1979) is also a study in the three-color technique, examining the same scenery on Amethyst Avenue on a winter’s and a summer’s day. Like a lucid dream, WATERFALL (Australia 1984) merges the movements of water into a metaphorical space of constant transformation, pointing beyond the real and making the untamed force of the plunging water stream tangible. The garden serves as the setting for GARDEN OF CHROMATIC DISTURBANCE (Australia 1998), a color study in which arbitrary objects are laid out to be filmed multiple times, then developed with varying light exposure and color balance.

The Cineteca Nacional de Chile invites you to a special screening on the occasion of the World Day for Audiovisual Heritage. The program includes Voto fusil (Helvio Soto, 1971, 90 min, Chile), a copy digitized in 4K by the Bundesarchiv (Federal Archives of Germany) from a 35mm print from the Arsenal Institute of Film and Videoart (Berlin) and mastered by the Cineteca Nacional de Chile.

Date: Tuesday, October 28
Time: 7:00 PM
Venue: Cineteca Nacional de Chile (Level -2, Centro Cultural La Moneda)

Projection of the newly restored director’s cut of The Tenant (El inquilino, José Antonio Nieves Conde, Spain, 1957). Better known for Furrows (Surcos, 1951), a good example of Spanish neorealism, Nieves Conde directed this film in a similar fashion, with the renowned actor Fernando Fernán Gomez as its protagonist. The story revolves around a couple trying to secure decent housing in Madrid during the city’s urbanistic expansion in the late 1950s.

An original trailer, a brief video about its restoration and an interview with the director, in which he explains all the details behind the making of the feature and the censorship he had to endure, will be screened with the film. Film historian José Luis Castro de Paz, a true connoisseur of Nieves Conde’s filmography and a long-standing champion of his work, will introduce the screening.

Copy from Filmoteca Española, courtesy of Juan Miguel Nieves Mascuñán.
Restored in 4K in 2025 by Filmoteca Española in collaboration with the Nieves Conde family, from the 35mm acetate negatives and a 35mm acetate print.

A few words about the film
from Valeria Camporesi, director of Filmoteca Española, and Patricia Uceda, restorer
written for the premiere of this print at Il Cinema Ritrovato

El inquilino was produced at the beginning of the second decade of the Franco dictatorship and from its origins was conceived as a project connected to the current events of many people’s lives, yet well removed from any form of radicalism or political criticism. The idea was to portray, with relatively mild humour, but without renouncing a strong realistic tone, the impact of real estate speculation that was going on in Madrid at the time. Despite moments of sarcasm and a certain crudeness with which it portrays the difficulties of a petty-bourgeois family struggling to secure safe housing, it initially passed the filters of the Censorship Board. They imposed cuts and adaptations, but, according to its director and co-writer, José Antonio Nieves Conde, without distorting its meaning and essence. However, when the film was finally distributed, the toughest obstacle it encountered was the angry intervention of the Ministry of Housing, which, finding it offensive, did everything possible to hinder its distribution and managed to impose several substantial modifications, as well as a different ending. This inevitably meant that its circulation and visibility were not only very limited, but its value and message were distorted. As Nieves Conde wrote, the film was “crushed, it was beaten, it was cut, it was altered… that was not the film we had shot.” In 1993, almost 20 years after Franco’s death, and 35 years after the film’s premiere, José Antonio Nieves Conde was able to obtain an uncensored release print and recut his film, adding extra material to show the variations it underwent. The restored version that will be screened at the festival is from this reassembled and recovered print, complete with its original trailer and final explanation. It aims to give back the film to the public, and to historical memory, as its creator originally intended.

On October 30th, Cinemateca Júnior, Cinemateca Portuguesa’s education department in collaboration with the Portuguese National Cinema Plan, organizes an in-person visit to Cinemateca’ s archive with 30 elementary, middle and high school teachers to promote and publicize this conservation space to the education community.

Le 30 octobre, Cinemateca Júnior, le département éducatif de Cinemateca Portuguesa, en collaboration avec le Plan National du Cinéma Portugais, organise une visite en personne aux archives de Cinemateca pour 30 enseignants du primaire, du collège et du lycée pour promouvoir et faire connaître cet espace de conservation à la communauté éducative.

El 30 de octubre, Cinemateca Júnior, departamento de educación de la Cinemateca Portuguesa en colaboración con el Plan Nacional de Cine Portugués, organiza una visita presencial al archivo de la Cinemateca con 30 profesores de primaria, secundaria y bachillerato para promover y dar a conocer este espacio de conservación a la comunidad educativa.

The Jane Mercer Memorial Lecture: In Conversation with Sonia Khan and Emma Alldis: Collaboration at the Heart of Storytelling – The Archive Producer and the Production Team

To celebrate World Day for Audiovisual Heritage this year, we continue with our successful series of the Jane Mercer Memorial Lecture. We are pleased to have Jane Mercer Researcher of the Year 2025 winner Sonia Khan, and Production Manager Emma Alldis discuss their work on the FOCAL Award-winning documentary ‘Atomic People’. The partnership between an Archive Producer and the wider production team is crucial in crafting powerful, historically grounded storytelling. 

In this webinar, we’ll explore how Sonia and Emma collaborated closely to bring to life the harrowing and deeply human story of the atomic bombings of Hiroshima and Nagasaki in August 1945. Nearly 80 years later, their film weaves together rare archival footage with intimate testimony from some of the last surviving Hibakusha, the victims and survivors of the bombings, ensuring their voices are preserved before they are lost to time.

Join us to discover how this unique documentary was shaped through archive, narrative, and trust.

In 2025 Cinemateca Portuguesa celebrates the World Day for Audiovisual Heritage with the public screenings of SANSHO DAYU (Sansho the Bailiff, Kenji Mizoguchi, 1954), projected in a new 35mm print produced by Cinemateca Portuguesa’s lab, and THE SCARLET DROP, the lost film of John Ford found last year in Chile, to be presented in the digitized restored version made by Cineteca Nacional de Chile.

En 2025, la Cinemateca Portuguesa célèbre la Journée mondiale du patrimoine audiovisuel avec la projection publique de SANSHO DAYU (L'Intendant Sansho, Kenji Mizoguchi, 1954), projeté sur une nouvelle copie 35 mm produite par le laboratoire de la Cinemateca Portuguesa, et THE SCARLET DROP, le film perdu de John Ford retrouvé l'année dernière au Chili, qui sera présenté dans la version numérisée restaurée réalisée par la Cineteca Nacional de Chile.

En 2025 la Cinemateca Portuguesa celebra el Día Mundial del Patrimonio Audiovisual con la proyección pública de dos películas: SANSHO DAYU (El intendente Sansho, Kenji Mizoguchi, 1954), proyectada en una nueva copia de 35mm producida por el laboratorio de la Cinemateca Portuguesa, y THE SCARLET DROP, la película perdida de John Ford encontrada el año pasado en Chile, que se presentará en la versión restaurada digitalizada realizada por la Cineteca Nacional de Chile.

Sun and Shadow, 1962, 68 min., black and white

Director: Rangel Vulchanov

Scriptwriter: Valery Petrov

Cinematographer: Dimo Kolarov

Composer: Simeon Pironkov

Cast: Ana Prucnal, Georgi Naumov

Short synopsis: THE HORROR OF NUCLEAR WAR THREATENS THE PEACEFUL LIFE OF PEOPLE. A boy and a girl meet on the beach. She comes from the West and is the daughter of a nuclear physicist diagnosed with cancer. He is a Bulgarian, the son of the architect who has designed the hotels in the resort. An ancient amphora, found in the sea, prompts them to talk about eternal human problems. She lives in constant fear of an unavoidable nuclear war. The boy believes in common sense.    

Restoration credits:

Digital restoration by Bulgarian National Film Archive in 2024, made possible in the framework of A Season of Classic Films, an initiative of ACE - Association des Cinemateques Europeenes and supported by the EU Creative MEDIA Program.

Antonia Kovacheva – Project manager

Rosen Spasov – Project coordinator

Angel Radev – Technical consultant

Galina Gencheva – Consultant

Krastina Ilieva – Film Prints

Toni Todorov – Additional grading and DCP

The film was Digitally restored in Jugoslovenska Kinoteka, 2024.

Aleksandar Erdeljanovic - Project coordinator

Dubravko Badalic – Mastering

Aleksandar Stojsin - Sound restoration

Restoration artists:

Stevan Stanic

Masa Badalic

Milan Miljusevic

Bojan Perkovic

Nikola Sobic

The film had its official premiere in Sofia in December 2024 as part of the A Season of Classic Films 2024. 

In this panel, 5 members of PAAG will discuss about the possibilities of reuse of audiovisual content, considering that audiovisual is essential for highlighting our visual culture and is crucial for the identity of individuals and communities. However, the interest in and attraction to this heritage vary across generations and are not experienced equally across different cultures. For this reason, in this panel, PAAG aim to provide the broadest possible perspective on the diverse content being created to break down existing barriers. The goal is to emphasize the value of this heritage by leveraging the possibilities offered by technology and to open a discussion among panellists.

This panel will take place in the framwork of ICA Congress in Barcelona.

From the creation of the amateur cinema section of the Grup Excursionista i Esportiu Gironí (GEiEG) in 1936, to the celebration of the last Antoni Varés Amateur Cinema Trophy in 1976, non-professional cinematographic production in Girona was linked to associations and cinema clubs as spaces for the screening of the works of amateur filmmakers.

Some cultural associations gave a great boost to amateur cinema by creating cinema sections and disseminating their activities through bulletins that were published with more or less regularity. Thanks to these publications, today we can have a fairly exhaustive knowledge of the cinema that was produced in the city outside the commercial cinemas. We refer to the bulletin of the Grup Excursionista i Esportiu Gironí (GEiEG), which has been published since 1920, the Bulletin of the Agrupació Fotogràfica i Cinematogràfica de Girona (AFIC), which was published between 1954 and 1976, and the Bulletin of the Cine-Club Ademar, of which three issues published between 1967 and 1968 are preserved.

This event aims to publicize the amateur cinema that was made in Girona over four decades, through information extracted from the bulletins and the screening of some fragments of films that will help illustrate the information presented.

The Tomijiro Komiya (1897-1975) Collection held by the National Film Archive of Japan is a valuable film heritage, primarily consisting of European silent films, including some films that are the only known surviving copies in the world.
We are pleased to present newly discovered filmsfrom the Collection, based on the research conducted at "In a Maze of Images. The Tomijiro Komiya Collection," which was co-hosted with Il Cinema Ritrovato Festival in 2021.
We hope you will come and discover the fascinating world of silent films, and learn about the activities of film archiving, which preserves the historical and cultural heritage.

In Celebration of UNESCO World Day for Audiovisual Heritage
Cinema: Lost and Found
From the Collection of Komiya Tomijiro Part 2

Date： Oct 4(Sat), 2025
Venue: Nagase Memorial Theatre OZU (2nd floor)
Capacity: 299 seats 
＊For more detailed information, please see the webpage of the event (in Japanese)

【Program A】 1:00 PM – 3:00 PM
La louve（The She-Wolf）Michel Carré, 11min. 18fps・35ｍｍ
Le songe de Nick Winter（Nick Winter’s Dream）Gérard Bourgeois, 7min. 18fps・35ｍｍ
Il bivio della morte（Between Life and Death）unkown, 23min. 18fps・35ｍｍ
La Leçon du gouffre（The Intriguers）Ferdinand Zecca, René Leprince, 22min. 16fps・35ｍｍ
L’anniversario（The Anniversary）Riccardo Tolentino, 21min. 18fps・35ｍｍ
Das Teufelsauge（The Devil’s Eye）Harry Piel, 11min. 18fps・35ｍｍ
The Biter Bit　unkown, 9min. 18fps・35ｍｍ
Kamisama no Nakadachi　unkown, 9min. 18fps・35ｍｍ

【Program B】 4:30 PM – 6:30 PM
Robinet innamorato di una chanteuse（Tweedledum in Love with a Singer）Marcel Fabre, 7min. 18fps・35ｍｍ
L’ultimo dei Frontignac（The Last of the Frontignacs）Mario Caserini, 10min. 18fps・35ｍｍ
Schatten der Nacht（Shadows of the Night）Harry Piel, 23min. 16fps・35ｍｍ
（The Two Consciences）unkown, 29min. 18fps・35ｍｍ
La fuga dei diamanti（The Queen of Diamonds）Augusto Genina, 13min. 18fps・35ｍｍ
Atlas. Episodio 2: accusa D’ oltre Tomba（Atlas）Mario Guaita, 15min. 18fps・35ｍｍ
Caccia all’orso, unkown, 7min. 18fps・35ｍｍ
Se fossi Re!（Dream of Shepherd/The Shepherd’s Dream/If I Were King）Edoardo Bencivenga, 9min. 18fps・35ｍｍ

* Piano accompaniment: Mie Yanashita

↓Click to view the leaflet (in Japanese).
https://www.nfaj.go.jp/wp-content/uploads/unesco2025.pdf