Celluloid Man

On the first hot day of summer, an old farmer goes fishing just as he has done for many years on the West Branch of the Delaware River. A young boy, his frequent fishing companion, eagerly takes him to see the first giant bulldozers, which are to begin construction on the Cannonsville Reservoir. In order to provide more water for the cities, the vast project will flood the valley. The old man goes to the general store and walks the length of the valley to talk about his concerns, but most people do not support him. The young people of the valley celebrate at a barn dance. The old man resists eviction with his unloaded flintlock. The next day, he watches as the houses and farms are burned to clear the way. His friend, the fiddler, picks him up and takes him and his few belongings away.

Apostles of Cinema follows Frank, DJ Black, and Rehema — three devoted film workers in Tanzania — as they reintroduce a classic piece of the country’s film history to their audiences of working class cinephiles. We join them, alongside Maangamizi: The Ancient One (2001), on a journey through the labyrinth of informal libraries, studios, and cinemas that exist to keep film and film culture alive. A testament to the profound cultural value of film when made truly accessible.

This documentary short-film follows the story of The White Bus Cinema based in Southend-on-Sea. They keep the process of projecting real celluloid film alive by showing films from their archive of over 3,000 films, ranging from Super 8, 16mm, and 35mm prints. The film argues why it's important to continue the shooting and projection process of film in our current age of digital shooting and projection in modern Hollywood, amidst the chaos of studios removing films from their streaming services.

Among the pieces featured in Fragments are the final reel of John Ford's The Village Blacksmith (1922) and a glimpse at Emil Jannings in The Way of All Flesh (1927), the only Oscar®-winning performance in a lost film. Fragments also features clips from such lost films as Cleopatra (1917), starring Theda Bara; The Miracle Man (1919), with Lon Chaney; He Comes Up Smiling (1918), starring Douglas Fairbanks; an early lost sound film, Gold Diggers of Broadway (1929), filmed in early Technicolor, and the only color footage of silent star Clara Bow, Red Hair (1928). The program is rounded out with interviews of film preservationists involved in identifying and restoring these films. Also featured is a new interview with Diana Serra Cary, best known as "Baby Peggy", one of the major American child stars of the silent era, who discusses one of the featured fragments, Darling of New York (1923).

A forgotten history of Northern Ireland is unveiled through a journey into Ulster Television’s archives, and the rediscovery of the first locally-produced network drama, Boatman Do Not Tarry.

Cinemateca Potiguar: Dez Anos de Memórias

Tells the history and importance of The National Film Registry, a roll call of American cinema treasures that reflects the diversity of film, and indeed the American experience itself.

A documentary on Cosme Alves Netto (1937-1996), former head of the Cinematheque of the Museum of Modern Arts at Rio de Janeiro.

Documentary short regarding the preservation and restoration of the worldwide remains of the Keystone films.

In this John Nesbitt's Passing Parade short, a look is taken at the problems of film preservation efforts in the 1930s and early 1940s.

This John Nesbitt's Passing Parade series short highlights the film preservation efforts of the Museum of Modern Art in New York. Several scenes from early newsreels are shown.

Why are we still able, today, to view images that were captured over 125 years ago? As we enter the digital age, audiovisual heritage seems to be a sure and obvious fact. However, much of cinema and our filmed history has been lost forever. Archivists, technicians and filmmakers from different parts of the world explain what audiovisual preservation is and why it is necessary. The documentary is a tribute to all these professionals and their important work.

Vivian Maier's photos were seemingly destined for obscurity, lost among the clutter of the countless objects she'd collected throughout her life. Instead these images have shaken the world of street photography and irrevocably changed the life of the man who brought them to the public eye. This film brings to life the interesting turns and travails of the improbable saga of John Maloof's discovery of Vivian Maier, unravelling this mysterious tale through her documentary films, photographs, odd collections and personal accounts from the people that knew her. What started as a blog to show her work quickly became a viral sensation in the photography world. Photos destined for the trash heap now line gallery exhibitions, a forthcoming book and this documentary film.

A glimpse at how genre film-focused home video companies have taken the charge in preserving, restoring, and releasing so many works which otherwise might have been lost to time.

During the 1920's, Augusto San Miguel (1905-1937) directed, produced and starred in the first feature films made in Ecuador. Unfortunately, San Miguel's films -like many episodes of his life- disappeared in time. The only remains are the movie ads on old newspapers and a mysterious legend, by which San Miguel was buried with his films.

A comprehensive and fascinating behind-the-scenes look at the restoration process of restoring 3-strip Cinerama for the 1962 film "The Wonderful World of the Brothers Grimm".

Documentary about the Buster Keaton short Hard Luck (1921).

A discussion on restoring title cards to English from foreign source prints.

Ben Model discusses scoring music for silent movies.

Documentary on Day Dreams (1922), a Buster Keaton silent comedy.