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“Stars in Broad Daylight,” with a domineering character who strongly resembles Hafez al-Assad, had one official showing in Damascus. Now it’s been restored.

On the phone from a hotel in Damascus, the Syrian filmmaker Ossama Mohammed was trying to paint me a picture of the view from his window. He could see Mount Qasioun, which looks out over the city. He could also see the presidential palace — “where the new person is spending his time now,” he said. It was evening there, and he could hear the sound of 100 mosques in prayer.

He and his wife, the opera singer Noma Omran, are “not people of religion,” he explained. But that sound moves them. “It’s not only the word of prayer,” he said. “The melody itself — it came from very deep culture, from multicultural Syria, from prehistoric Syria.”

Since 2011, he and Omran had been living in exile in Paris. After Bashar al-Assad’s regime fell in December, Mohammed said, his wife persuaded him that they should go there directly.

“The timing — it’s just amazing,” he marveled.

Technically, we were on the phone to discuss the new restoration of “Stars in Broad Daylight,” his 1988 debut feature, which will screen in the Museum of Modern Art’s annual film preservation showcase, To Save and Project, on Sunday and Jan. 28.

That the film is resurfacing now is pure coincidence. The restoration had its premiere at Il Cinema Ritrovato, a festival of vintage cinema in Bologna, in June, when no one could have known that Bashar al-Assad would lose power. As it happens, “Stars in Broad Daylight” offers a harsh commentary on his father and predecessor, Hafez al-Assad, who died in 2000. More than one viewer has noted the resemblance between the former leader and the star.

The movie revolves around the complicated relationships of an extended family, the Ghazis. Khalid (Abdellatif Abdul Hamid), the most domineering of the clan — and the one who looks like Hafez al-Assad — has tried to orchestrate marriages for two of his siblings to maximize the Ghazis’ land ownership. After one bride runs from the double wedding, Khalid’s tyranny becomes even more overt.

When you are living under dictatorship, Mohammed explained, you are never a movie’s sole screenwriter. “Assad is the co-writer,” he said. “He is on your shoulder writing with you.” In “Stars,” he added, “I took him from my shoulder, and I saw him in the framing, inside.”

Still, he explained, his interest was not in insulting al-Assad but exploring what he saw as the twisted mind-set that dominated Syria under his rule. “It’s about the psychological and mental deformity that infects the individual under dictatorship,” Mohammed said.

An invitation-only premiere was held for an audience of intellectuals and artists at the Al-Assad National Library in Damascus, but that is the closest thing to a public screening “Stars in Broad Daylight” ever received in Syria. It was never allowed to be shown in Syrian theaters — only in international settings like the Directors’ Fortnight program at Cannes. Mohammed heard that Hafez al-Assad himself watched the film privately, although he emphasized that information was secondhand.

But no high-quality version has been available anywhere. When the film showed in New York in 2006 at Lincoln Center, the theater played it off a videotape; in 2017, MoMA screened it from a file. Cecilia Cenciarelli, head of research and special projects for the Cineteca di Bologna, said it was one of the most challenging titles that the organization had restored in collaboration with the World Cinema Project, an initiative of Martin Scorsese’s Film Foundation that preserves work from countries neglected in Western film histories.

For a start, it was unclear if a restoration-grade copy existed. Mohammed had deposited a print with the Cinémathèque Française, but it was in poor shape; Cenciarelli tracked down copies with Spanish subtitles, but subtitles would be obstacles to a preservation effort. Then Mohammed remembered that the film had screened on German television in the 1990s, at a time when TV stations routinely used 35-millimeter prints for broadcast.

Cenciarelli, who speaks Italian, English, French and a little Spanish, but not German, took old TV guides from the Cineteca’s library, ran them through Google Translate — and found a match. But the station told her the print had been dubbed in Turkish. “There’s a very, very large Turkish community in Germany,” she said. Her hope was that the cataloger had simply mistaken the film’s dialogue, which is in Arabic, for Turkish. Sure enough, the station had a pristine print in the original language.

The other obstacle, Cenciarelli said, was the rights holder, the National Film Organization of Syria, with whom communication was fruitless. Luckily, she said, Mohammed retained the rights to screen it noncommercially, so the restored “Stars” could always show at festivals like To Save and Project, even though a release wasn’t in the cards.

But now, with the ouster of the younger al-Assad, maybe the film can be screened more widely. Mohammed is looking into showing it in Syria. He said that every day people ask him about a screening.

Mohammed acknowledged that it was a tense time in Syria, but also spoke of the “explosion” of “expression and imagination” now that the Assad regime is gone: “If you have five taxis in the day, you will hear amazing discoveries.”

There are also familiar sensations. “The main pleasure is when you walk in the popular market, and you see a 60-, 70-year-old man who was working there from the beginning of history,” he said.

He and Omran are there temporarily, for now — their Damascus apartment, which had been watched over by a caretaker, bore the hallmarks of “14 years of dust and emptiness” — and he said that thousands of other Syrians who left have returned to witness the moment. There’s something about it that doesn’t quite feel real: “It is not normal — this is the feeling,” he said. “It’s as if you are a part of a movie, and the movie is so different.”

Other Films in the Series

Not every title in To Save and Project can compete with world-historic circumstances, but as usual, the series is filled with wonders. “Raskolnikow,” a 1923 adaptation of “Crime and Punishment” directed by Robert Wiene (“The Cabinet of Dr. Caligari”), has been considerably lengthened from available versions to what feels like a better approximation of the scope of Dostoyevsky’s novel. The angular German Expressionist production design contributes to the atmosphere of psychological breakdown.

The director Alberto Cavalcanti is best known for his Ealing Studios movies from Britain, but he made “A Real Woman” (1954) in his native Brazil. This rediscovery presents a daring, funny portrait of an inadvertent bigamist, a nurse (Inezita Barroso) who, through no fault of her own, winds up married to two men, one poor, one rich.

And “The Wages of Sin,” a 1938 American exploitation film made outside the strictures of the Production Code by claiming educational value, follows a woman (Constance Worth) who is tricked into sexual slavery. David Stenn, the film historian who financed the restoration, said, “There’s a fundamental truthfulness to these movies that you don’t see in the Hollywood studio films.”

To Save and Project runs through Jan. 30 at the Museum of Modern Art. For more information, go to moma.org.

To preserve over 112 years of its cinematic legacy, Universal launched its Restoration Project in 2012 in partnership with The Film Foundation. Together, they have restored more than 149 significant films, ensuring that these timeless classics continue to inspire audiences for generations to come.

For more than 112 years, Universal's film group has been behind some of the most iconic films in cinema. Committed to preserving this rich legacy, Universal launched its Restoration Project in 2012 in partnership with The Film Foundation, a nonprofit organization founded by Martin Scorsese and Steven Spielberg. 

We have a duty as a film studio, to make sure that we keep those memories alive for a future generation. We don’t want to see these films deteriorate and the Restoration team has been so important in protecting and restoring these assets.

— Adam Moysey, CFO NBCUniversal Studios Group

NBCUniversal's Film Restoration Process 

When choosing which films to restore, NBCUniversal collaborates heavily with The Film Foundation—a non-profit organization founded by Martin Scorsese and Steven Spielberg.  The Restoration team has identified many films for restoration and has already restored 149 films of significance to the industry including Spartacus, E.T, Jaws, Schindler's List, Back to the Future, To Kill a Mockingbird, House of Frankenstein and many more. Each year, 10-12 titles are restored - this years ten titles are below:

Once a film has been identified for restoration, the Studio Mastering team does extensive research and analysis of the Universal Picture archive, collaborating with many teams —from the physical vault to the digital vault. These groups create and maintain best practices ensuring that assets are migrated with the latest digital standards and least amount of handling, so they may be utilized again in the future. The title is thoroughly researched with both internal and external subject matter and legal experts consulted, followed by a physical inspection and evaluation. 

The NBCUniversal Vaults host the 112 year film collection which includes more than 40 miles of actual shelving space -- including the original cut negative, that ran through the camera when that movie was being filmed.  Scanning is the first step of restoration where the editors, colorists and visual effect artists start working on a good scan. 

Then digital artists are able to provide services that include dirt and scratch removal, deflickering, stabilization, and grain management. We have tools that have been specifically developed and designed to be able to deal with film damage. 

When a project is complete, the restored version of the film is added to NBCUniversal archive and can be submitted to film festivals around the world. 43 of the 149 restoration titles have been screened 227 times over the course of 42 international festivals including but not limited to Festival De Cannes, MoMa, Focal International and more. 

NBCUniversal Restoration Spotlight: Sugarland Express

The Sugarland Express (1974) Theatrical Trailer

As the team was researching titles for 2024, they realized that it was the 50-year anniversary of Sugarland Express, Steven Spielberg’s first major studio theatrical release. In this film, the audience really gets to see how Mr. Spielberg was starting to think about filmmaking and see his classic trademarks coming to life. 

The Restoration team worked closely with Mr. Spielberg and Amblin for six months to restore Sugarland Express around shot and color correction, stabilization and music. The film took place in rural Texas where the weather can change in an instant - so you have shots that should be taking place right after another with drastic changes in the sky. The restoration team was able to color correct so each shot would then match the appropriate sequence. 

The music in the film was an original three track mix, the dialog, music and effects. In working with Amblin, the team was able to perform a new 5.1 remix which gave the movie an all new surround track full of effects, yet maintaining the original feel of the 1974 soundtrack. 

At the Tribeca Film Festival in New York, Mr. Spielberg discussed the restoration and the importance of it to him personally. While introducing Sugarland Express at its packed screening, he joked that “You’re the first audience to ever see Sugarland Express in 50 years,” highlighting that this restoration marks a new lease on life for the film. The film marked the first time he worked with producers Richard Zanuk and David Brown, and was the impetus that led him to direct Jaws.

The Value of Restoration

The restoration program protects Universal Pictures 112-year-old film library through digital preservation of picture and audio elements, ensuring these works can be experienced fully by generations of cinemagoers for years to come, regardless of the speed at which the original film will naturally degrade over time. 

Early films by Nathaniel Dorsky, as well as works by Tatsu Aoki and Midwestern feminist filmmakers JoAnn Elam and Kathleen Laughlin will be preserved and made accessible through the 2024 Avant-Garde Masters Grants, awarded by The Film Foundation and the National Film Preservation Foundation with funding provided by the Hobson/Lucas Family Foundation.

Four early works by renowned filmmaker Nathaniel Dorsky will be preserved by the Berkeley Art Museum and Pacific Film Archive. Fool’s Spring: Two Personal Gifts (1966-67), a birthday gift exchange between Dorsky and longtime partner and filmmaker Jerome Hiler, will be made available to the public for the first time. Pneuma (1977-83) and Ariel (1983) are experiments with the material and chemical properties of film, yielding vibrant abstractions of energy and color. Drawing on these experiments, Alaya (1976-87) represents a return to the photographic image in its meditation on sand, wind, and light. Stan Brakhage raved “Alaya manages a perfection of ‘musical’ light across a space of time greater in length than would seem possible…and with minimal means of line and tone—little short of a miracle!”

Known primarily for the landmark feminist 16mm films Rape (1975) and Lie Back and Enjoy It (1982), Chicago filmmaker JoAnn Elam (1949-2009) was also extremely dedicated to 8mm filmmaking. Drawn to the format’s ability to intimately capture the nuances of everyday life, Elam asserted in the “Small Gauge Manifesto” (co-written with Chuck Kleinhans) that “Small gauge film is not larger than life, it’s part of life.” Elam’s interest in the artistry of domestic life is evidenced in her “avant-garde home movies”, Garden & Joe (ca. 1980) and Joe Cutting Tree (ca. 1980), featuring her husband engaged in practical labor. Blizzard of '79 (1979) captures the filmmaker’s snow-covered neighborhood after a legendary storm. A Country Mile (ca. 1973) turns a simple walk down a rural, wooded path into a mesmerizing journey, while Memphremagog (ca.1973) is a frenetic travel montage that ends in a warm, familial destination. 7/4/77 (1977) shows friends enjoying a Fourth of July gathering. Chicago Film Archives will preserve these works as part of the JoAnn Elam Collection.

The Walker Art Center will preserve Opening/Closing (1972) by Kathleen Laughlin. Filmed in a single night in a South Minneapolis laundromat, washer and dryer doors open and close in an animated rhythm, enlivening a monotonous and routine task. With a background in visual arts and animation, Laughlin contributed to the flourishing independent filmmaking community in the Twin Cities as a teacher and graphic designer at Film in the Cities, the landmark media arts center.

Chicago Film Society will preserve four early works by celebrated Chicago filmmaker, musician, educator, and arts advocate Tatsu Aoki. Exploring the confluence between filmmaking and musical performance, Aoki employs in-camera tricks, stop-motion animation, pixelization, inverted colors, and superimpositions to dazzling effect. 3725 (1981) playfully portrays domesticity in the filmmaker’s apartment while Dream Works (1983) considers the inner life of a cat. Through overlapping images of cars, lane lines, and light fixtures, Rapturous (1984) turns an ordinary parking garage into a “a mildly hypnotic kaleidoscope” while Harmony (1991) captures the hustle and bustle of Chicago’s famed Loop.

Now in its twenty-first year, the Avant Garde Masters program, created by The Film Foundation and the NFPF, has helped 34 organizations save 234 films significant to the development of the avant-garde in America thanks to the Hobson/Lucas Family Foundation. The grants have preserved works by 91 artists, including Kenneth Anger, Shirley Clarke, Bruce Conner, Joseph Cornell, Oskar Fischinger, Hollis Frampton, Barbara Hammer, Marjorie Keller, George and Mike Kuchar, and Stan VanDerBeek. Click here to learn more about all the films preserved through the Avant-Garde Masters Grants.

The restored version of Indian auteur Girish Kasaravalli‘s 1977 Kannada-language debut feature “Ghatashraddha” (“The Ritual”) is set to premiere at the Venice Film Festival.

This restoration, a collaboration between Martin Scorsese’s the Film Foundation’s World Cinema Project and Shivendra Singh Dungarpur’s Film Heritage Foundation (FHF), with funding from George Lucas and Mellody Hobson’s Hobson/Lucas Family Foundation, brings the Indian classic back to international audiences 47 years after its initial release.

Based on a novella by U.R. Ananthamurthy, “Ghatashraddha” tells the story of Yamuna, a child widow living in her father’s religious school in southern India. After becoming pregnant by a local teacher, she faces ostracism and undergoes a ritual where her father symbolically breaks an earthen pot, representing her outcast status.

The source element for the restoration is the original camera negative preserved at the National Film Development Corporation-National Film Archive of India. “‘Ghatashraddha’ had always been on Film Heritage Foundation‘s restoration wishlist,” Dungarpur told Variety. “I was aware that the negative was not in great condition and I was concerned that it would deteriorate further if we did not restore the film soon.”

The restoration faced numerous technical challenges. “The original camera negative was affected by mold and was damaged with broken and fragile splices, tears, broken perforations, old tape residues and scratches,” Dungarpur explained. L’Immagine Ritrovata in Bologna tackled the extensive repair work.

“Ghatashraddha” features cinematography by S. Ramachandra and a score by B.V. Karanth. The film stars Meena Kuttappa and Narayana Bhat.

“We involved Girish Kasaravalli right through the process especially with the grading of the black and white film, the subtitling and the sound as the sound design of the film is so layered and nuanced, not to mention the compelling score by the legendary B.V. Karanth,” Dungarpur said.

“I have been working closely with Film Heritage Foundation on the restoration of ‘Ghatashraddha’ for several months now. Shivendra and I have been speaking nearly every day about the grading, the density of the blacks, the sound and the subtitling,” Kasaravalli told Variety. “When we began the process, I knew the original camera negative was not in the best of condition and I was very worried about the sound as there was a disturbing hiss all through the film.”

When the 35mm dupe sound negative proved unsuitable due to distortion issues, the team sourced a 35mm print from the Library of Congress with higher quality audio.

“I was so overwhelmed to see the restored ‘Ghatashraddha’ when Shivendra sent me the final version. It has been a revelation to see the film come back to life again with such astonishing beauty after almost 50 years,” Kasaravalli said.

“I’m delighted that the restoration of my debut feature ‘Ghatashraddha’ will have its world premiere at the Venice Film Festival this year, 47 years after its release,” Kasaravalli added. “It will be a matter of great pride for me to be in Venice to present the film.”

The restored “Ghatashraddha” plays at the Venice Classics strand.

Looking ahead, FHF is set to restore Pradip Krishen’s 1989 cult film “In Which Annie Gives It Those Ones,” written by and starring Arundhati Roy, and Mani Ratnam’s 1997 masterpiece “Iruvar.”