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The hidden festival, you should never miss |
Read more at in70mm.com The 70mm Newsletter
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Written by: Aleksas Gilaitis |
Date:
16.11.2018 |
In the times when more and more of our beloved
cinema is becoming digital, analog film screenings are becoming the subject
of film preservation in itself. Since analog film has so many forms and
variations, some of the technical aspects are becoming rarities, making
every screening or purist festival one of only a handful in the world.
Noticeably currently running Nitrate Picture Show is the only yearly
festival which shows only nitrate prints; irregular screenings organized by
Kenningston Bioscop and
Kevin Brownlow is probably one of only a few (if not
the only) initiative to publicly screen 9,5mm films, and Krnov film festival
is one of only a handful of purist 70mm film festivals.
In Europe there are three purist widescreen format festivals, which
interestingly have started around the same time (early 2000s – the times,
when 70mm productions almost ceased to exist, and before the unexpected
revival of it in 2010s). They take place in:
Cinemateket in the
capital of Norway, Oslo; Shauburg
Film Theater in Karlsruhe, Germany (also well known for its silent film
festival); and probably the most unexpected of places -
Kino Mir 70 in Krnov,
Czech Republic (almost on the border with neighbouring Poland). Considering
the most iconic archival debate between Langlois and Lindgren, all of these
technologically rare screenings may sound like a little victory for Langlois
side, were the philosophy of „to show is to preserve“ wins over Lindgrens
„to preserve is to show“. This statement can stand only behind the
understanding of the incredibly high costs of each 70mm film print
production, and in most of the cases, very limited amount of surviving well
preserved 70mm films prints.
I vividly remember, when in 2015 Quentin Tarantino released
"The Hateful Eight"
in 70mm. And not in the regular
Super
Panavision 70, which in some very rare occasions did get its attention
with a release or two every 5-years since it‘s decline in the late 1990s,
but in almost completely forgotten format of
Ultra
Panavision 70, never used since the release of
"Khartoum" in
1966. In 2015 all the film-related media praised Tarantino's attempt to
revive widescreen format, though I had quite a sceptic stand on it. However
at the same time I was very glad that I lived in a country, where the film
was shown from a newly made 70mm print.
But look at me now, celebrating each 70mm restoration and a new release of
70mm film, which occurs at least once every year. The festival in Krnov this
year started with celebratory new release of 2017 –
"Murder on the Orient
Express", where contemporary green-screen and computer generated
effects clearly clashed with the physical aspect of a film print.
Nevertheless, it was the newest film print projected in the festival,
showing the spectacular quality of image possibilities of this wide-format.
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More
in 70mm reading:
• Home of "7OMM Seminar" at Kino Mir 70, Krnov, Czech
Republic
KRRR! 13th 70mm Film Fest Krnov 2018
Gallery: Krnov 7OMM Seminar 2018
Impressions from the KRRR! 70 film fest
in Krnov (Czech Republic) from April 13 - 15, 2018
Mission report from Krnov's KRRR! 70mm
Seminar
7OMM Seminar Through the Years:
• Film Program
• Text and Image
About Todd-AO
•
Počátky
Todd-AO
Internet
Kino Mir 70 Namesti Miru 14 794 01 Krnov The Czech
Republic
Telephone: +420 554 615 050
Head of the Kino Mir 70:
Pavel Tomešek
• Festival Page
•
KRRR! Facebook
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Interestingly enough, a weekend-long 10-screening festival had a very
diverse selection. Not only from the perspective of films (as content), but
also in the perspective of prints. As such a technically oriented festival,
it seems that it does not hide the flaws of film preservation. Some of the
films were highly worn-out, some had obvious sound problems (due to worn out
sound channels). Though the bravest move is nothing else, but projection of
color-faded red prints. In this year’s edition I had a chance to see the
legendary „The Exorcist“ from almost completely red film print with
somewhat „popping“ sound from the left channel. As for such a splendid
horror film, this screening was extraordinary. Assumingly most of the
audience has already seen the film in its „correct“ edited sound and in full
gamma of colors, most possibly in a digital form. This 70mm projection gave
another darkness to it. The print after all did not lack any detail in its
picture quality, which made it more than watchable on a big screen, but the
aging of its print was there, in front everyone’s eyes.
I don’t want to discuss much about all the splendid quality, beautiful color
film prints of B. Bertolucci's „The Last Emperor“, „Little Buddha“,
and many other great screenings, which I feel lucky to have seen in 70mm.
Though one more extraordinary film was Saturdays 9:00 AM screening of a very
rare big French production about Warsaw Ghetto - „Au nom des tous le
miens“ (1983). Originally 35mm film, was once blown up to 70mm sole copy
as an order from one particular cinema in France, which had only 70mm
projector. Many years after the screening, this unique copy ended up in some
flea market in Paris, where a film collector (who gave film for this
one-time screening in Krnov) has bought and kept until now. Such story only
motivates every travelling cinema-buff (cinema-hunter) to travel all these
kilometres for such festivals.
Another unique, overwhelming experience was given by a Technicolor beautiful
print of a Todd-AO musical
„South Pacific“ (1958), which was very well preserved and as colorful as
a true Technicolor film should be. My colleague, who was sitting next to me,
knew most of the songs by heart, so I got even better surround system than
most of the audience.
All these memorable films were very well contextualized by the audience.
There were many loyal fans, and 70mm film lovers, who shared their knowledge
about the same films screened in other cinemas, or from different copies. I
have noticed that such a purist 70mm festival creates a perfect environment
to learn about the existing prints, their condition and the technical aspect
of each 70mm capable venue in Europe. Krnov, after all, showed the technical
perfection of their projectionists’ crew and the careful maintenance of
almost obsolete projectors. As the profession of film projectionists is
slowly fading away, it is incredibly important that the remaining venues,
which choose not to abandon the analog, would screen films in the best way
possible.
For further information, considering the history and present of 70mm films,
I highly recommend this particular book [Wide
Screen Movies] and this very much alive and extensive website:
www.in70mm.com.
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Aleksas Gilaitis
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Aleksas Gilaitis is a freelance film archivist
and curator. His expertise lies in the long-term conservation and management
of nitrate film collections. In recent years he has worked at the EYE
Filmmuseum in Amsterdam; the Ltd “Lithuanian Cinema” in Vilnius and the
Jugoslovenska Kinoteka in Belgrade. He is also the founder and head curator
of the archival film festival “First Wave” in Vilnius.
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28-07-24 |
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