I always wonder if Quintet will improve on later viewings. I remember it as such a dog, though. It would be interesting to see it again, though, just as you say.

Venice Classics 2016:

1848

by Dino Risi (Italy, 1948, 11’, B/W)

restored by: Archivio Nazionale Cinema Impresa-CSC-Cineteca Nazionale and Veneranda Fabbrica del Duomo di Milano



An American Werewolf in London

by John Landis (UK, 1981, 137’, Color)

restored by: Universal Studios



L’argent (Money)

by Robert Bresson (France, Switzerland, 1983, 83’, Color)

restored by: MK2



La battaglia di Algeri (The Battle of Algiers)

by Gillo Pontecorvo (Italy, Algeria, 1966, 121’, B/W)

restored by: Cineteca di Bologna and Istituto Luce – Cinecittà in collaboration with Surf Film Srl and Casbah Entertainment



The Brat

by John Ford (USA, 1931, 65’, B/W)

restored by: The Museum of Modern Art and The Film Foundation



Break up - L’uomo dei cinque palloni (The Man with the Balloons)

by Marco Ferreri (Italy, France, 1965, 85’,B/N)

restored by: Cineteca di Bologna and Museo Nazionale del Cinema in collaboration with Warner Bros



Dawn of the Dead – European Cut

by George A. Romero (USA, Italy, 1978, 116’, Color)

restored by: Koch Media in collaboration with Norton Trust and Antonello Cuomo



Manhattan

by Woody Allen (USA, 1979, 97’, B/W)

restored by: Park Circus, Metro Goldwyn Mayer



Oci Ciornie (Dark Eyes)

by Nikita Michalkov (Italy, USSR, 1987, 144’, Color)

restored by: Istituto Luce-Cinecittà and CSC-Cineteca Nazionale in collaboration with Viggo



The Ondekoza

by Kato Tai ( Japan, 1979, 107’, Color)

restored by: Shochiku Co., Ltd.



Opfergang (The Great Sacrifice)

by Veit Harlan (Germany, 1942-1943, 97’, Color)

restored by: Friedrich Wilhelm Murnau Stiftung



Pretty Poison

by Noel Black (USA, 1968, 89’, Color)

restored by: 20th Century Fox



Processo alla città (The City Stands Trial)

by Luigi Zampa (Italy, 1952, 99’, B/W)

restored by: CSC-Cineteca Nazionale and Gaumont in collaboration with Astrea. Sentimenti di giustizia



Profumo di donna (Scent of a Woman)

by Dino Risi (Italy, 1974, 105’, Color)

restored by: CSC-Cineteca Nazionale and Istituto Luce-Cinecittà in collaboration with Dean Film



Shanzhong Chuanqi (Legend of the Mountain)

by King Hu (Hong Kong, 1979, 184’, Color)

restored by: Taiwan Film Institute



Shichinin no Samurai (Seven Samurai)

by Akira Kurosawa (Japan, 1954, 207’, B/W)

restored by: Toho


Stalker

by Andrej Tarkovskij (USSR, 1979, 162’, B/W, Color)

restored by: Mosfilm (producer of the restoration, Karen Shakhnazarov)



Tutti a casa (Everybody Go Home!)

by Luigi Comencini (Italy, France, 1960, 115’, B/W)

restored by: Filmauro and CSC-Cineteca Nazionale



Twentieth Century

by Howard Hawks (USA, 1934, 91’, B/W)

restored by: Sony Pictures



Le Voleur (The Thief of Paris)

by Louis Malle (France, Italy, 1965, 122’, Color)

restored by: Gaumont





The Venezia Classici section will also feature the presentation of a selection of documentaries about cinema and its filmmakers. The complete list of the section will be announced during the press conference presenting the program of the Venice Film Festival, on Thursday, July 28th at 11 am in Rome (Hotel Excelsior).


http://www.labiennale.org/en/cinema/news/22-07.html

Perversely perhaps, out of that great line up this is the one I'm most excited about.

Is that really a *new* restoration of Manhattan? If so, seems silly for Arrow to be using the old discs for their rerelease at the end of the year (good as they may be)...

A) Screenings of restorations for classic films frequently don't translate into new home video releases.

B) Arrow has no choice in the matter.

C) The old disc looks pretty much perfect anyway. Save your tears for Annie Hall.

Yeah, no, I'm well aware of all of that, but part of me still vainly hopes that given they are putting it out again anyway something could still happen despite contracts having already been signed.

This past evening at the Northwest Chicago Film Society...

Restored Mya Ganaing / The Emerald Jungle (1934), the oldest surviving film from Myanmar is to premiere at the Locarno International Film Festival.

The 2016 Reel Thing conference and restoration exhibition is currently underway in Los Angeles, and Grover Crisp was on hand to present a brand new restoration of John Huston's Beat the Devil, which not only looks gorgeous, but restores many scenes that were excised, thus making it more entertaining AND intelligible. Really hope Criterion puts out this one.

Agreed! I was unfamiliar with the cut that's apparently been circulating for decades, but found the version they screened last night hugely enjoyable. And it indeed looked incredible.

London Film Festival 2016 - treasures from the archives:
https://whatson.bfi.org.uk/lff/Online/d ... =treasures
Beat the Devil, Informer (1929), Junoon, Born in Flames, Private Property, Santi-Vina, Small World of Sammy Lee, Woman of the World (Pola Negri) and more

MoMa Save and Protect 2016:
https://www.moma.org/calendar/film/3614?locale=en
Night of the Living Dead (from OCN), Howard Hughes pre-code rarities, King Hu, John Ford, Aleksander Ford, Warhol, Pabst, Chahine, Murnau, Lindtberg, Deluge (Feist) and more

Moma - Universal 1930s restorations and rediscoveries:
https://www.moma.org/calendar/film/1642?locale=en

TCM Fest 2016, restos:
http://2016.filmfestival.tcm.com/programs/
http://trailersfromhell.com/staring-dow ... BYTHYWcGM8

Cat Chaser (Ferrara) director´s cut:
https://filmmakermagazine.com/86898-scr ... at-chaser/

Going Back (Sidney J Furie), director´s cut:
http://confluencefilmblog.blogspot.se/2 ... cuing.html

A Cool Sound from Hell (Furie, 1959):
http://filmmakermagazine.com/86423-cool ... BYPwIWcGM8
https://www.fandor.com/keyframe/canada-lost-and-found

The New-Ark (1968, Amiri Baraka):
http://blogs.harvard.edu/hfacollections ... ri-baraka/
http://brightlightsfilm.com/recovering- ... BYQtIWcGM9

Who´s Crazy (1965), music by Ornette Coleman:
http://www.newyorker.com/culture/richar ... whos-crazy

I'm sorry, all these are restorations??
If yes, i would love blurays of these:

The Yearling
When you're in love
Tea and Sympathy
Lassie Come Home
Children of a lesser God

The TCM festival usually shows restored film prints, according to their website.

Restoration of a film does not automatically mean there will be a blu-ray release. But films controlled by Warner Bros. stand a good chance of eventual release through the Warner Archive DVD/Blu-ray programs. Broadcasts on HD cable channels is another possibility.

I included the link mainly because of the info about hard-to-see early 30s productions, prime candidates for Warner Archive releases
(see www.wbshop.com under the Warner Archive banner for regular release info).

Hope this helps. Sorry, I have no info other than what is given on the site.

Back in March I saw a beautiful 4K restoration of Carol Reed's Our Man in Havana at the Pacific Film Archive. According to BFI, the restoration was done by Sony-Universal's Grover Crisp. Given Criterion's relationship with Sony and their history with Carol Reed films, I'm guessing it will eventually see stateside release from Criterion. I'm just surprised there have been no rumors in that regard.

Abel Ferrara's Cat Chaser has not been restored. All that's left is a single VHS copy of the workprint. I do wonder if his original cut of Body Snatchers still exists, though.

Yes, strictly speaking that Cat Chaser link is off-topic, but the info was interesting, so I included it anyway.
On a similar note, James B. Harris talks about his cut of The Boiling Point, prepared for TV syndication, though he´s unsure if this cut has ever been shown:
http://www.filmcomment.com/interview-ja ... -part-two/
Harris also talks about the studio re-editing and re-scoring the film.

http://www.nytimes.com/2016/10/30/movie ... .html?_r=0

Night of the Living Dead, restored by MoMA, original aspect ratio

Major resto of La Roue underway, to be shown in part during Cinema Ritrovato 2017:

http://variety.com/2016/film/festivals/ ... 201886156/




J´Accuse (Gance, 1938) is now on Blu from Olive Films, restored by Gaumont.

Gaumont apparently used a post-1938 reissue print for their restoration.

Robert A. Harris discusses the reissue here:

https://www.hometheaterforum.com/commun ... ay.350041/’

”We have some extra footage, and some original footage missing, but it serves the purpose, as the many important bits are generally intact. The downside of the re-issue is a happy ending, and the loss of Diaz rejoining his long-dead allies.”

On Dailymotion I found the 1938 version (now taken down due to "breach of use"), apparently taken from the Connoisseur Video VHS:

Here is the end, with Diaz burned at the stake, then rejoining the dead, a scene not on the Olive disc according to the DVD Savant review:
http://www.dailymotion.com/video/x2cak7 ... 3_creation

The whole film is uploaded on Dailymotion, in three separate posts, the first post starts with the Connoisseur Video logo.




Harris apparently restored the 1938 version in 1991, through his company Film Preserve Ltd.

A scholarly article about the 1919 and 1938 versions, including mention of the burning:

https://kuscholarworks.ku.edu/bitstream ... sequence=2

Footnote 35 has info about the reissue version.

Häxan (1922)

Digitally restored in 2K by the Swedish Film Institute, premieres in the Films Institute's Cinematheque January 10th next year. The screening will have live musical accompaniment by Matti Bye. (source in Swedish)
Got nothing else on this right now, but they do good work so it should look great. See .

I'm sorry, does anyone know what's the story behind tis restoration?
I thought the film had black and white parts as seen in this trailer too:


But in the restoration the B&W parts have either a teal blanket or a yellow blanket!!!
I don't suppose Eclair went that far as to start tealing and yellowing B&W films too, right??


(i don't mention of course the rest of the film which is tealed too, but that is usual now with Eclair)

edit: ok, i found out about the yellowish, that some scenes were indeed sepia-toned. So, i guess this is accurate.
But what about the B&W turned to teal&white?

I'm not quite sure I follow your argument, but the film is well-known for its use of color filters as applied to black and white footage throughout

Oh, I see.
So the teal filter on Black and white was how it was originally. OK.
I didn't know how the film looked and seeing the trailer and reading here and there I always read about "black and white" and not any teal filters.
That's why I asked.
And combining with the fact that the color portions of the film are identical color wise to any film restored by Eclair/Ritrovata I thought maybe they went as far as to apply the filter in the B&W portions too.

Perhaps this is a little bit off-topic, but when does Film Foundation release their annual reports? They seem to have a lot of information on the restorations themselves, as well as schedules for screenings.

Berlin Classics, a quite limited selection. Annie Hall included

http://www.berlinale.de/en/das_festival/sektionen_sonderveranstaltungen/retrospektive/index.html