The World Cinema Project (WCP) preserves and restores neglected films from around the world. To date, 60 films from Africa, Asia, Eastern Europe, Central America, South America, and the Middle East have been restored, preserved and exhibited for a global audience. The WCP also supports educational programs, including Restoration Film Schools; intensive, results-oriented workshops allowing students and professionals worldwide to learn the art and science of film restoration and preservation. All WCP titles are available for exhibition rental by clicking "Book This Film."
MARÍA CANDELARIA
Director: Emilio Fernández
WRITTEN BY: Emilio Fernández, Mauricio Magdaleno
EDITING: Jorge Bustos, Gloria Schoemann
DIRECTOR OF PHOTOGRAPHY: Gabriel Figueroa
PRODUCER: Agustín J. Fink
STARRING: Dolores Del Río, Pedro Armendáriz, Alberto Galán, Margarita Cortés, Miguel Inclán
COUNTRY OF PRODUCTION: Mexico
LANGUAGE: Spanish with English subtitles
COLOR INFO: Black and White
RUNNING TIME: 102 minutes
PRODUCER: Agustín J. Fink
Restored in 2024 by the Academy Film Archive, TelevisaUnivision, Filmoteca UNAM, and The Film Foundation's World Cinema Project. Restoration funding provided by the Material World Foundation.
MEMORIES OF UNDERDEVELOPMENT
MEMORIAS DEL SUBDESARROLLO
Director: Tomás Gutiérrez Alea
WRITTEN BY: Tomás Gutiérrez Alea
EDITING: Nelson Rodríguez
DIRECTOR OF PHOTOGRAPHY: Ramón F. Suárez
PRODUCER: Miguel Mendoza
STARRING: Sergio Corrieri (Sergio Carmona Mendoyo), Daisy Granados (Elena), Eslinda Núñez (Noemi), Omar Valdés (Pablo), René de la Cruz (Elena’s brother)
COUNTRY OF PRODUCTION: Cuba
LANGUAGE: Castilian with English an French subtitles
COLOR INFO: Black and White
RUNNING TIME: 97 minutes
PRODUCTION COMPANY: Instituto Cubano del Arte e Industria Cinematograficos (ICAIC)
PRODUCER: Miguel Mendoza
Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). Restoration funded by The George Lucas Family Foundation and The Film Foundation’s World Cinema Project.
I remember it as if it were yesterday. The film begins. A dizzying sound of drumbeats invades the movie theatre. Pulsating bodies take the screen. Dozens, hundreds of people, mostly blacks and mestizos, are dancing. Everything is movement and ecstasy. All of a sudden, gunshots ring out. A man lies on the ground - a lifeless body. Surrounding him, the deafening music and the rhythm continue. The beat is frenzied. The camera travels from face to face in the crowd until it stops at a young black woman. The frame freezes on her trance-lit face.
Thus begins Memorias del subdesarrollo, and watching it was like a shock to me. The film navigated between different states - fiction and documentary, past and present, Africa and Europe. The dialectic narrative took the form of a collage, crafted with an uncommon conceptual and cinematographic rigor. Scenes from newsreels, historical fragments and magazine headlines mixed and collided. In Memorias del subdesarrollo, Alea proved that filmic precision and radical experimentation could go hand in hand. Nothing was random. Each image echoing in the following image, the whole greater than the sum of its parts. Until then, having spent part of my childhood in Europe, I had a better knowledge of Italian neorealism and the French new wave than I did of the cinematic currents in Latin America. I admired Rossellini and Visconti and the early films of Godard and Truffaut - and with good reason. On taking the camera to the streets and showing the faces and lives of ordinary people, the neorealists and the directors of the nouvelle vague had fomented a true ethical and aesthetic revolution in films.
But Memorias del subdesarrollo carried with it something more. A point of view that was vigorous, original and, more importantly, pertained directly to us, Latin Americans. It was like a reverse angle - one that seemed more resonant to me than that which was prevalent in other latitudes.
- Walter Salles
I remember that soon after the Revolution, everybody (and I mean everybody) thought that our island could be transformed, from one moment to the next, into a sort of Switzerland of the Caribbean. We had everything we needed: the people, the weapons, the enthusiasm, and the opportunity to re-build our country from scratch. Only later did we understand that we were basically a farming country, that industrialization would take more time than we had hoped, and that our island was small, poor and underdeveloped. All of a sudden, everything that had once seemed within arm’s reach was further and further away. The new reality is a radical one. We don’t just need a new economy, new politics, a new society. We need a new way of thinking, and this will take longer. For now, we have to accept who we are and keep fighting, which brings me back to the concept of underdevelopment, but this time, of a moral and aesthetic nature.
Every day, to build our society, we have to confront the type of people we despise: those who think they are the only custodians of the Revolution, who believe only they know socialist morality, and who have institutionalized mediocrity and provincialism. The bureaucrats, with or without a desk, who talk to our people as one does with children, telling us what to show them, how to address them. And since these bureaucrats believe that our people are not ready to know the whole truth, they are ashamed of them, and suffer from a national inferiority complex. I hope, with my film, to annoy, provoke and upset all of them.
- Tomás Gutiérrez Alea
NOTES ON THE RESTORATION:
The restoration of Memorias del Subdesarrollo was made possible through the use of the original camera and sound negative and a vintage duplicate positive provided and preserved by ICAIC.
The camera negative is affected overall by advanced vinegar syndrome – in particular where the duplicate negatives of archival footage are edited into the film – causing a consistent ‘halo’ on the image. Most of reel 3 was irreversibly crystallized and half of reel 4 was badly compromised by decay. The duplicate element was used to replace the image in those portions. The camera negative was scanned at 4K, using wet-gate only for the most problematic sections.
The dual bilateral variable area sound negative showed a poor photographic definition, resulting in a harsh and raspy sound, with noticeable image spread distortion. Scratches, dirt and dust on the emulsion caused heavy crackles and clicks during reproduction. Sound restoration was able to reduce these issues considerably.
MUNA MOTO
Director: Dikongué-Pipa
WRITTEN BY: Dikongué-Pipa
EDITING: Andrée Davanture, Dominique Saint-Cyr, Jules Takam
DIRECTOR OF PHOTOGRAPHY: Jean-Pierre Dezalay, Jean-Luc Léon
STARRING: David Endéné, Arlette Din Bell, Philippe Abia, Gisèle Dikongué-Pipa, Jeanne Mvondo
COUNTRY OF PRODUCTION: Cameroon
LANGUAGE: French with English subtitles
COLOR INFO: Black and White
RUNNING TIME: 90 minutes
Restored in 2019 by Cineteca di Bologna/L’Immagine Ritrovata and The Film Foundation’s World Cinema Project. Funding provided by the Hobson/Lucas Family Foundation.
This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the Pan African Federation of Filmmakers and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore, and disseminate African cinema.
NOTES ON THE RESTORATION:
The 4K restoration of Muna Moto was made from the 35mm original camera and sound negatives and a second generation dupe negative.
Despite wet-gate scanning to minimize mold damage, some sections of the camera negative had to be replaced by scanning the dupe negative.
Following director Dikongue-Pipa’s suggestion, the dupe negative was also used for the opening and closing cards which differed from the original negative. A vintage 35mm print was used as a reference for picture grading. Special thanks to Cinémathèque Royale de Belgique.
Mysterious Object at Noon
DOKFAH NAI MEU MAAN
Director: Apichatpong Weerasethakul
EDITING: Mingmongkol Sonakul, Apichatpong Weerasethakul
DIRECTOR OF PHOTOGRAPHY: Apichatpong Weerasethakul, Prasong Klimborron
PRODUCER: Gridthiya Gaweewong, Mingmongkol Sonakul
SOUND: Teekadetch Watcharatanin, Sirote Tulsook, Paisit Phanpruksachat, Adhinan Adulayasis
STARRING: Somsri Pinyopol, Duangjai Hiransri, To Hanudomlapr, Kannikar Narong, and the villagers of Thailand
COUNTRY OF PRODUCTION: Thailand
LANGUAGE: Thai
COLOR INFO: Black and White
RUNNING TIME: 88 minutes
PRODUCTION COMPANY: 9/6 Cinema Factory, Firecracker Films, Bangkok
PRODUCER: Gridthiya Gaweewong, Mingmongkol Sonakul
Restored in 2013 by the Austrian Film Museum and Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project, LISTO laboratory in Vienna, Technicolor Ltd in Bangkok, and Apichatpong Weerasethakul. Restoration funded by Doha Film Institute.
On his journey, the director hears a story which he then asks people to continue as they wish— like a game of Chinese Whispers (and relating also to the French Surrealists’ concept of the “cadavre exquis”). The original title, Dokfah nai meu maan, roughly translates as Heavenly Flower in Devil’s Hand. The name of that flower, Dokfah, is also the name of the woman who appears in the story-within-a-film as the teacher of a young paraplegic boy. The title is reminiscent of an archetypical Thai melodrama, but in the hands of the most imaginative re interpreter of national tradition, it becomes an epic meta-narrative.
I want to give the audience the freedom to fly or to float, to just let their mind go here and there, to drift, like when we sit in a train, listen to a Walkman, and look at the landscape. It is liberating, and also the audience understands that they are not watching a routine, three act narrative.
- Apichatpong Weerasethakul
NOTES ON THE RESTORATION:
The restoration of Mysterious Object at Noon utilized the 35mm duplicate negative with burned-in English subtitles deposited at the Austrian Film Museum by Apichatpong Weerasethakul in 2007. This negative was struck in 1999 from the (now lost) original 16mm camera reversal element.
The duplicate negative was scanned at 3K at the Austrian Film Museum. Painstaking digital restoration work was undertaken to remove dust, scratches and other visible marks while keeping the look (and the specific defects) of the original 16mm camera reversal material intact. Color correction was carried out at the LISTO laboratory in Vienna; the 35mm optical soundtrack negative was transferred at L’Immagine Ritrovata in Bologna; the digital sound restoration was performed at Technicolor Ltd in Bangkok.
The restoration was carried out in close collaboration with the filmmaker and completed in June 2013. The process produced a new 35mm internegative.
Image: © Courtesy of Apichatpong Weerasethakul
PICKPOCKET
XIAO WU
Director: Jia Zhang-ke
WRITTEN BY: Jia Zhang-ke
EDITING: Lin Xiao Ling
DIRECTOR OF PHOTOGRAPHY: Yu Lik Wai
PRODUCER: Li Kit Ming, Jia Zhang-ke
ASSISTANT DIRECTOR: Gu Zheng
ART DIRECTOR: Liang Jing Dong
STARRING: Wang Hong wei, Hao Hong Jian, Zuo Bai Tao
COUNTRY OF PRODUCTION: China
LANGUAGE: Mandarin
COLOR INFO: Color
RUNNING TIME: 108 minutes
PRODUCER: Li Kit Ming, Jia Zhang-ke
Restored by The Film Foundation's World Cinema Project and Cineteca di Bologna at L'Immagine Ritrovata laboratory in collaboration with Jia Zhang-ke and in association with MK2.
Restoration funding provided by the Hobson/Lucas Family Foundation.
NOTES ON THE RESTORATION:
The 4K restoration of XIAO WU was made from the original 16mm camera and sound negatives. The restoration process and color grading was supervised by director Jia Zhang-ke.
PIXOTE
PIXOTE, A LEI DO MAIS FRACO
Director: Héctor Babenco
WRITTEN BY: Héctor Babenco, Jorge Durán
EDITING: Luiz Elias
DIRECTOR OF PHOTOGRAPHY: Rodolfo Sanchez
PRODUCER: Sylvia B. Naves, Paulo Francini, José Pinto
ART DIRECTOR: Clóvis Bueno
STARRING: Fernando Ramos da Silva (Pixote), Jorge Julião (Lilica), Gilberto Moura (Dito), Edilson Lino (Chico), Zenildo Oliveira Santos (Fumaça), Claudio Bernardo (Garatao), Israel Feres David (Roberto Pie de Plata), Jose Nilson Martin Dos Santos (Diego), Marília Pêra (Sueli)
COUNTRY OF PRODUCTION: Brazil
LANGUAGE: Portuguese with English subtitles
COLOR INFO: Color
RUNNING TIME: 128 Minutes
PRODUCTION COMPANY: Embrafilme, HB Filmes
PRODUCER: Sylvia B. Naves, Paulo Francini, José Pinto
Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L'Immagine Ritrovata in association with HB Filmes, Cinemateca Brasileira, and JLS Facilitações Sonoras. Restoration funded by the Hobson/Lucas Family Foundation.
NOTES ON THE RESTORATION:
Restored in 4K from the 35mm original camera negative and a first generation 35mm dupe negative preserved at the Cinemateca Brasileira. In order to minimize the overall presence of mold, particularly invasive in reels 3, 5 and 6, the camera negative was wet-gate scanned at 4K resolution and digital restoration required considerable efforts. Missing frames in three different shots of reel 3 were replaced using the internegative.
The recently rediscovered original magnetic soundtrack, also affected by mold, with the oxide peeling off the base, was carefully repaired by Beto Ferraz then digitized and restored by José Luiz Sasso (ABC), sound engineer for Hector Babenco in 1981. Final color grading was supervised by cinematographer Rodolfo Sánchez using a first generation vintage 35mm print as reference.
PRISIONEROS DE LA TIERRA
Director: Mario Soffici
WRITTEN BY: Ulyses Petit de Murat, Darío Quiroga
EDITING: Gerardo Rinaldi, José de Nico
DIRECTOR OF PHOTOGRAPHY: Pablo Tabernero
MUSICAL DIRECTOR: Lucio Demare
PRODUCTION DESIGN: Ralph Pappier
STARRING: Ángel Magaña (Esteban Podeley), Elisa Galvé (Andrea), Francisco Petrone (Köhner), Homero Cárpena, Raúl De Lange, Roberto Fugazot
COUNTRY OF PRODUCTION: Argentina
LANGUAGE: Spanish and Guaranì with English subtitles
COLOR INFO: Black and White
RUNNING TIME: 85 minutes
PRODUCTION COMPANY: Pampa Films
Restored by Cineteca di Bologna at L’Immagine Ritrovata and The Film Foundation’s World Cinema Project in association with the Museo del Cine Pablo Ducros Hicken with elements provided by the Cinémathèque Française and the Narodni Filmovy Archiv.
Funding provided by the Hobson/Lucas Family Foundation.
NOTES ON THE RESTORATION:
PRISIONEROS DE LA TIERRA was restored using the best existing elements: a first generation 35mm positive print held at La Cinémathèque française and a recently rediscovered third generation 35mm positive print preserved by the Narodni Filmovy Archiv. For its overall completeness and photographic quality, the first generation 35mm positive print was used to restore the image, while the third generation 35mm positive print was the primary source for sound restoration.
A 16mm dupe negative, provided by the Museo del Cine, has been also been studied and compared as a reference. Color grading was supervised by Paula Félix Didier, director of the Museo del Cine Pablo Ducros Hicken.
RAID INTO TIBET
Director: Adrian Cowell
DIRECTOR OF PHOTOGRAPHY: Chris Menges
PRODUCER: George Patterson
COUNTRY OF PRODUCTION: UK
LANGUAGE: English/Tibetan with English subtitles
COLOR INFO: Black-and-White
RUNNING TIME: 28 minutes
PRODUCER: George Patterson
Restored by The Film Foundation’s World Cinema Project at Cineric Inc. laboratory in association with the Tibet Film Archive. Special thanks to the Cowell family.
In May 1964, three British filmmakers traveled with the Khampa guerrillas over a 20,000-foot pass into occupied Tibet from the remote Tsum region of Nepal and captured dramatic footage of an ambush on a Chinese military convoy. The footage was smuggled out and edited two years later in London, and officially released in 1966 to critical acclaim. Shot by Oscar-winning cinematographer Chris Menges (THE READER, LOCAL HERO, THE KILLING FIELDS), this documentary short is an important historical artifact, representing the only known footage of armed Tibetan resistance fighters in combat with the Chinese.
NOTES ON THE RESTORATION:
Restoration work was completed at Cineric in New York. The original 16mm camera negative was cleaned, repaired, then wet-gate scanned at 4K to eliminate scratches and other minor defects in the emulsion. The image was subsequently stabilized and digitally cleaned to remove dust, deep scratches, and other visible marks. Because of the extreme conditions in Tibet during the filming, Cineric implemented exposure compensation at the initial scanning of the raw material. Grading was performed by colorist Paul Ensby and supervised by Chris Menges at Technicolor London.
The original sound negative was also scanned and digitally cleaned to reduce background noise and remove clicks and pops. A new 35mm internegative with sound has been made for preservation, along with 35mm prints for conservation and access. In addition, a new HD master and DCP will be produced for digital screenings.
REDES
Director: Fred Zinnemann, Emilio Gómez Muriel
WRITTEN BY: Agustín Velázquez Chávez, Paul Strand
EDITING: Emilio Gómez Muriel, Gunther von Fritsch
DIRECTOR OF PHOTOGRAPHY: Paul Strand
ADAPTED BY: Emilio Gómez Muriel, Fred Zinnemann and Henwar Rodakiewicz
MUSICAL DIRECTOR: Silvestre Revueltas
SOUND: Roberto, Joselito Rodriguez
FROM: Cinemateca de la UNAM, Mexico
STARRING: Silvio Hernández (Miro), David Valle González (Monopolist), Rafael Hinojosa (Politician), Antonio Lara (El Zurdo), Miguel Figueroa and native fishermen
COUNTRY OF PRODUCTION: Mexico
LANGUAGE: Spanish with French and English subtitles
COLOR INFO: Black and White
RUNNING TIME: 61 minutes
PRODUCTION COMPANY: Secretaría de Educación Pública
Restored in 2009 by Cineteca di Bologna/L'Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project and Filmoteca de la UNAM. Restoration funded by Armani, Cartier, Qatar Airways and Qatar Museum Authority.
The film – the first (and last) of its kind – was expected to play a small part in the Government’s plan to educate millions of illiterate citizens throughout the enormous country and bring them out of their isolation. […] The picture was to be made for the Federal Department of Fine Arts, headed by composer Carlos Chávez. The producer would be Paul Strand. […] We had recruited practically all ‘actors’ from among the local fishermen, who needed to do no more than be themselves. They were splendid and loyal friends, and working with them was a joy. In addition to acting, they carried all the equipment, rowed the boats and did a multitude of other jobs, earning more money than ever before – forty-five cents per day, per man – and enjoying themselves hugely. […] I’m told that some years later the Nazis found the negative in Paris and burned it. A few prints still exist. –Fred Zinnemann
NOTES ON THE RESTORATION:
The restoration of Redes used the best surviving materials, namely a 35mm safety duplicate negative and a positive print preserved at the Filmoteca de la UNAM in Mexico. The digital restoration produced a new 35mm internegative.
Image: © Courtesy of Filmoteca de la UNAM
REVENGE
MEST
Director: Ermek Shinarbaev
WRITTEN BY: Anatoli Kim
EDITING: Polina Stein
DIRECTOR OF PHOTOGRAPHY: Sergei Kosmanev
PRODUCER: Habibur Rahman Khan
MUSICAL DIRECTOR: Vladislav Shute
STARRING: Alexandre Pan (Sungu, the poet), Oleg Li (King-Monk), Valentin Te (Novice), Lubove Germanova (Elza), Rasim Jakibaev (Tsai)
COUNTRY OF PRODUCTION: Kazakhstan
LANGUAGE: Russian with French and English subtitles
COLOR INFO: Color
RUNNING TIME: 96 minutes
PRODUCTION COMPANY: Kazakhfilm Studios
SET DESIGNER: Elena Eliseeva
PRODUCER: Habibur Rahman Khan
Restored in 2010 by Cineteca di Bologna/L'Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project, the Kazakhfilm Studio, the State Archive of the Republic of Kazakhstan and Ermek Shinarbaev. Restoration funded by Armani, Cartier, Qatar Airways and Qatar Museum Authority.
In a rage, a teacher murders a boy. Another boy is bred, for one sole purpose: to avenge his brother’s death. Kazakh master Ermek Shinarbaev’s close collaboration with the Korean-Russian writer Anatoli Kim yielded three great films, the most remarkable of which is this beautiful, profoundly unsettling film. A true odyssey, geographically and psychologically. One of the greatest films to emerge from the Kazakh New Wave, and one of the toughest.
(Kent Jones, May 2010)
In the beginning of the 40s, hundreds of thousands of Koreans that had lived in the Russian Far East since the XIX century were forcibly displaced overnight according to Stalin’s orders. They were regarded as traitors and public enemies. Women, children, old people, were sent away with no explanation. The Korean diaspora, with a population of over a million, has been a forbidden topic for many years. Revenge is the first film telling the story of their tragedy.
(Ermek Shinarbaev, May 2010)
NOTES ON THE RESTORATION:
The restoration of Revenge, used the original camera negative, the sound negative and a positive print provided by the Kazakhfilm Studio and held at the State Archive of the Republic of Kazakhstan. Special thanks to director Ermek Shinarbaev for actively participating in the restoration.
Image: © Courtesy of Kazakhfilm Studio
River Called Titas, A
TITAS EKTI NADIR NAAM
Director: Ritwik Ghatak
WRITTEN BY: Advaita Malla Burman, Ritwik Ghatak
EDITING: Basheer Hussain
DIRECTOR OF PHOTOGRAPHY: Baby Islam
PRODUCER: Habibur Rahman Khan
MUSICAL DIRECTOR: Ustad Bahadur Khan
STARRING: Kabari Choudhury (Rajar Jhi), Roushan Jamil (Mother), Probir Mitra (Kishore), Ritwik Ghatak (Tilakchand), Rani Sarkar (Mungli), Sufia Rustam (Udaytara), Rosi Smad (Basanti)
COUNTRY OF PRODUCTION: India
LANGUAGE: Bengali with French/English subtitles
COLOR INFO: Black and White
RUNNING TIME: 158 minutes
ON COMPANY: Ribatan Ghatak/Ritwik Memorial Trust; National Film Archive of India; Bundesarchiv-Filmarchiv
PRODUCER: Habibur Rahman Khan
Restored in 2010 by Cineteca di Bologna /L’Immagine Ritrovata laboratory, in association with Ritwik Memorial Trust, the National Film Archive of India, and The Film Foundation’s World Cinema Project. Additional film elements provided by the Bundesarchiv-Filmarchiv. Restoration funded by Doha Film Institute.
If you were eighteen years old, growing up in New Delhi, a student of cinema, a cinephile or a plain film snob, it was given that you would swoon over the film-maker Ritwik Ghatak and spend endless hours in the Delhi University canteen discussing his films, his alcoholism, and his eventual death from Tuberculosis. An ‘avant garde’ Writer and Director, Ghatak had caught the imagination of many of us who carried Mao’s Red Book’ and quoted liberally from it (in English) at the drop of a hat. After all, didn’t Ghatak (a card carrying Communist) film the extreme poverty and the cultural extinction of Bengal by Imperialism? Because of the political ‘din’ surrounding much of Ghatak’s work, ironically the work itself, as opposed to the man’s personality and politics, got neglected by the legion of his die-hard fans (me included!). It was only years later when I saw his epic, A River Called Titas, that I swooned for totally different reasons. The film is a work of pure genius. A passionate elegy for a dying culture, it moved me profoundly, and continues to haunt me to this day. Based on a novel by the Bengali author Advaita Barman and adapted for the screen by Ghatak, A River Called Titas, tells the raw and powerful story of a dying river and a dying culture.
–Deepa Mehta, May 2010
NOTES ON THE RESTORATION:
The restoration of A River called Titas used the camera and sound negatives and a positive print provided by the Ritwik Memorial Trust and held at the National Film Archive of India. As the original negative is incomplete and some reels were severely damaged, a combined lavender and a positive print provided by the Bundesarchiv-Filmarchiv were also used. The digital restoration produced a new 35 mm internegative.
Image: © Courtesy of Ritaban Ghatak - Ritwik Memorial Trust
SAMBIZANGA
Director: Sarah Maldoror
EDITING: Georges Klotz
DIRECTOR OF PHOTOGRAPHY: Claude Agostini
STARRING: Elisa Andrade, Domingos De Oliveira, Jean M’Vondo, Adelino Nelumba, Benoît Moutsila, Tala Ngongo, Lopes Rodrigues, Henriette Meya, Manuel Videira
COUNTRY OF PRODUCTION: Angola, France
LANGUAGE: Portuguese, Lingala and Kimbundu with English subtitles
COLOR INFO: Color
RUNNING TIME: 96 minutes
Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Image Retrouvée in association with Éditions René Chateau and the family of Sarah Maldoror.
Funding provided by Hobson/Lucas Family Foundation.
This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the Pan African Federation of Filmmakers and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore, and disseminate African cinema.
NOTES ON THE RESTORATION:
Restored in 4K from the original 35mm negatives. Color grading was supervised by Annouchka De Andrade and cinematographer Jean-François Robin.
With special thanks to Annouchka De Andrade and Henda Ducados.
