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Stefan Andersson wrote: Fri Sep 25, 2026 5:58 pm Pordenone 2026 titles are starting to appear:
https://www.giornatedelcinemamuto.it/en ... io-021026/

some titles:

Reigen (Oswald, 1920, DCP, 100 mins.), probably the 2022 DFF Deutsches Filminstitut & Filmmuseum restoration
https://www.stummfilm-magazin.de/aktuel ... der-reigen

Genuine (Wiene, 1920, DCP, 83 mins.), probably the 1995/96 Cineteca di Bologna/Filmarchiv des Filmmuseums München/Cinémathèque de Toulouse restoration
https://ilcinemaritrovato.it/film/genui ... en-hauses/
https://de.wikipedia.org/wiki/Genuine#Rekonstruktion
https://removiescom.wordpress.com/2018/ ... a-vampire/

Seven Sinners (Milestone, 1925, DCP, 64 mins.), probably the 2017 restoration
https://www.qagoma.qld.gov.au/cinema/sc ... 2017-02-19
https://eu.dispatch.com/story/entertain ... 617836007/
https://warnerbros.fandom.com/wiki/Seve ... 1925_film)

Stefan Andersson wrote: Fri Sep 25, 2026 5:58 pm Pordenone 2026 titles are starting to appear:
https://www.giornatedelcinemamuto.it/en ... io-021026/

Genuine (Wiene, 1920, DCP, 83 mins.), probably the 1995/96 Cineteca di Bologna/Filmarchiv des Filmmuseums München/Cinémathèque de Toulouse restoration
https://ilcinemaritrovato.it/film/genui ... en-hauses/
https://de.wikipedia.org/wiki/Genuine#Rekonstruktion
https://removiescom.wordpress.com/2018/ ... a-vampire/



Update:
Stefan Drössler on restoring Genuine:
https://www.weimarcinema.org/essay/drossler3/

Stefan Andersson wrote: Thu Oct 01, 2026 2:02 pm Shin Heike Monogatari, Mizoguchi:
"In 2004, the film was digitally restored through a joint project between the National Film Center (now the National Film Archive of Japan) and what was then Kadokawa Pictures."
https://www.nfaj.go.jp/program/tiff-nfaj202610-11/

The Fanciful Norwegian wrote: Thu Oct 01, 2026 4:36 pm

Stefan Andersson wrote: Thu Oct 01, 2026 2:02 pm Shin Heike Monogatari, Mizoguchi:
"In 2004, the film was digitally restored through a joint project between the National Film Center (now the National Film Archive of Japan) and what was then Kadokawa Pictures."
https://www.nfaj.go.jp/program/tiff-nfaj202610-11/

There was a digital restoration of this in 2004, but there's since been a 4K restoration as well, which MoMA screened in 2018. In theory these could be the same restoration, but 2004 is improbably early for a 4K restoration of a film like this, which isn't exactly one of Mizoguchi's best-known. (Ugetsu didn't get a 4K until 2016 and Sansho the Bailiff the following year.) I suspect the 2004 restoration was either SD-only or a substandard HD job, since it didn't appear in MoC's "Late Mizoguchi" set. It's possible the NFAJ is actually screening the 4K and they just recycled their old copy about the 2004 restoration.

The Fanciful Norwegian wrote: Thu Oct 01, 2026 4:36 pm

Stefan Andersson wrote: Thu Oct 01, 2026 2:02 pm Shin Heike Monogatari, Mizoguchi:
"In 2004, the film was digitally restored through a joint project between the National Film Center (now the National Film Archive of Japan) and what was then Kadokawa Pictures."
https://www.nfaj.go.jp/program/tiff-nfaj202610-11/

There was a digital restoration of this in 2004, but there's since been a 4K restoration as well, which MoMA screened in 2018. In theory these could be the same restoration, but 2004 is improbably early for a 4K restoration of a film like this, which isn't exactly one of Mizoguchi's best-known. (Ugetsu didn't get a 4K until 2016 and Sansho the Bailiff the following year.) I suspect the 2004 restoration was either SD-only or a substandard HD job, since it didn't appear in MoC's "Late Mizoguchi" set. It's possible the NFAJ is actually screening the 4K and they just recycled their old copy about the 2004 restoration.

Fred Camper wrote:In 1941 and 1942 Japan was already engaged in a brutal imperialist war–before Pearl Harbor there was the small matter of its bloody invasion of China. The Japanese military authorities demanded propaganda films, and Mizoguchi readily acceded. He has been accused of opportunism by recent historians–he was a leftist when that suited, a democrat when Japan turned democratic. Certainly Genroku Chushingura served the war with its message of obedience even to death and with its formal, stately imagery depicting individual honor only in the context of a larger social order. In that sense this sublime film was made in the service of evil ends.

But our challenge, after seeing a film in its historical context, is to make something of it for ourselves. First of all, we can’t necessarily accept a film’s values merely because it moves us. At the same time, we should try to see the film in all its dimensions. As Mizoguchi’s camera constantly destabilizes the film’s images, he creates a poetics of space far more general than the specific values of the story. The issues he poses–of the balance between an individual and the social code, between emotion and tradition–are still with us, albeit in different forms. And as we watch one of his intense static compositions, focusing emotion momentarily on one character, transform into a moving shot that reframes the characters or introduces new ones, creating a new context, it becomes clear that the relationship between an individual and his culture is in part the result of the way we see space itself.