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The FOCAL International Awards 2016

WINNERS OF THE 2016 FOCAL INTERNATIONAL AWARDS BELOW.

THE CALL FOR SUBMISSIONS TO THE 2017 FOCAL INTERNATIONAL AWARDS WILL BEGIN OCTOBER 2016 FOR PRODUCTIONS PREMIERED IN 2016.

Please read the Entry Guidelines first, then the Category details. When you have chosen an appropriate Category that you want to make a submission to, go to the Award Submission Form. On the submission form you select the chosen category and the correct form will appear. Please note that the forms do not retain your information so it is advisable to prepare and save your text in advance in case there is a problem! Also please have your purchase order number ready or your credit card ready. We can only take Mastercard or Visa and you should have it cleared for overseas transactions in advance. Good luck!!
 


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  • Prasad

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La Noire de... (1966 Ousmane Sembene)

Restored by The Film Foundation's World Cinema Project in collaboration with the Sembene Estate, Institute National de l'Audiovisuel INA, Eclair laboratories and Centre National de Cinematographie. Restoration carried out at Cineteca di Bologna   |   USA/Italy

  • Executive Director, Margaret Bodde; Managing Director, Jennifer Ahn
  • Cecilia Cenciarelli, Project Manager
  • Davide Pozzi, Director

Country of Origin of cited work: Senegal
First Transmission / Publication Date since restoration: 2015-5-15
Where published (Channel/Website) since restoration: CANNES CLASSICS
Programme Duration (mins): 65

Brief Synopsis in English (up to 100 words): Diouana, a young Senegalese woman, moves from Dakar, Senegal to Antibes, France to work for a rich French couple. In France, Diouana hopes to continue her former nanny job and anticipates a cosmopolitan lifestyle. But from her arrival in Antibes, Diouana experiences harsh treatment from the couple, who force her to work as a full servant. She becomes increasingly aware of her constrained and alienated situation and starts to question her life in France.
Reason for submission in English (up to 100 words): LA NOIRE DE... is probably the most famous African film ever made, being symbolically the first ever made by an African filmmaker in Africa, and yet it was extremely difficult and time consuming to locate the original camera negative and equally difficult to overcome the bureocratic and legal difficulties related to it, which is sadly the state of 99% of the African film heritage. The negative was quite damaged and had to be scanned wet-gate and it's been years since this film has been circulating on the big screen. The reasons for submitting are political, aesthetic, and cultural. It's a debut masterpiece by an artist who has changed African filmmaking.

Further Information
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): The restoration of La Noire de… was made possible through the use of the original camera and sound negative provided by INA and the Sembène Estate and preserved at the CNC " Archives Françaises du Film. In order to try and minimize the presence of visible spots (due to processing errors and aggravated by time) and scratches on the image, the camera negative was wet-scanned at 4K resolution. Due mainly to these two issues, the digital restoration required considerable efforts. A vintage print preserved at the Cinémathèque Française was used as reference.
2. Original and restored aspect ratio and format (up to 100 words): Original 35mm camera negative. Aspect ratio 1.33:1
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): It's been at least 3 decades since a good print of LA NOIRE DE has been available for theatrical screenings and no DVD or Blu Ray existed until this restoration. Former VHS and pirate DVD available extremely scratchy and faded with visible spots in several sequences.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): The restoration was promoted and funded by The Film Foundation's World Cinema Project. Restoration work was carried out at Cineteca di Bologna/ L'Immagine Ritrovata laboratory.
5. What methodology was used? (up to 100 words): The restoration followed a traditional full 4K workflow. The original negative was inspected and repaired manually, wet-gate scanned, digitally restored in 4K and color graded. A 35mm print-out was produced.
6. What preservation elements have been generated and where will they be stored? (up to 100 words): Digital Data back-up (LTO6 TAPES) stored at Cineteca di Bologna/L'Immagine Ritrovata. New 35mm preservation print preserved at AMPAS on behalf of The Film Foundation
7. How and where has the restoration been presented and made available to the public? (up to 100 words): The restoration of LA NOIRE DE... was selected for Cannes Classics 2015 and screened at the presence of the Sembene family. The film was subsequently booked by over 35 festivals in 4 continents between June and November 2015 including the New York Film Festival, the London Film Festival, the Festival Lyon, the Cinémathèque Francaise, MoMA, the Pacific Archive. LA NOIRE DE... has been licensed to the BFI who released a stunning DVD/Bluray using our restored master as well as to Criterion Collection who will release the film both on Blu Ray and theatrically. Responses have been extremely positive and LA NOIRE DE... has been reviewed again as if the film was being released in 2015 and stirred more discussion on newspapers like LIBERATION on the political impact of colonial cinema.

Marius (1931 Alexander Korda, Marcel Pagnol)

Compagnie Mediterraneenne de Films / Digimage Classics.   |   France

Compagnie Mediterraneenne de Films-MPC and the Cinematheque francaise, with the support of the CNC, the Franco-American Cultural Fund DGA-MPA -SACEM-WGAW, the help of ARTE France Cinema Department, the Audiovisual Archives of Monaco, and the participation of SOGEDA Monaco / Digimage Classics (France)

Country of Origin of cited work: France
First Transmission / Publication Date since restoration: 2015-5-21
Where published (Channel/Website) since restoration: CANNES CLASSICS
Programme Duration (mins): 127

Brief Synopsis in English (up to 100 words): "Marius" takes place in Marseilles' Old Port, at the La Marine Bar, owned by César and his son Marius. Marius' biggest dream is to embark on one of the boats passing by his dad's bar and to set off to a faraway land. Fanny, a young and pretty seafood peddler, has secretly been in love with Marius since her childhood; Marius, never admitting it, has always loved Fanny. One day, a sailor drops by La Marine and offers him a job on an exploratory ship...
Reason for submission in English (up to 100 words): MARIUS (1931) by Marcel Pagnol is one of the greatest French film. It was restored in 2015 by the Compagnie Méditerranéenne de Films " MPC and the Cinémathèque française, with the support of the CNC, the Franco-American Cultural Fund DGA-MPA -SACEM-WGAW, the help of ARTE France Cinema Department, the Audiovisual Archives of Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Marcel Pagnol's grandson, Nicolas Pagnol, and cinematographer Guillaume Schiffman (AFC). The work was carried out by the DIGIMAGE CLASSICS laboratory.

Further Information
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): We worked from the original 35mm nitrate film and sound negatives, which are stored at the French Film Archives, Bois d'Arcy, France. As a back-up, we also had a "safety" dupe positive and a nitrate dupe negative at our disposal. The film negative was very damaged and had shrinkage and decomposition issues. Moreover, the negative was frosted, torn, and contained several scratches and mold on the base side. It also suffered from a lack of images. The dupe positive contained fewer defects but had a different texture and a lower resolution. Fortunately, it contained the missing images.
2. Original and restored aspect ratio and format (up to 100 words): One of the first French talking movies, Marius was shot in 1.20, the first ratio made for talking movies, before the arrival of 1.37 in 1932. The dupe negative is in 1.37. Since its making in the 1940s, the film has always been screened in this 1.37 ratio. That is why the audience has always missed the top and the bottom of the image. The restoration of Marius has been carried out in 1.20, in order to screen the entire image wanted by director Alexander Korda. As for sound, the Western Electric recording, in mono, was at that time experimental.
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): Marius was previously restored in 2003, in SD, from the dupe negative. Our restoration has a much higher resolution: 4096 pixels wide vs 720 pixels wide for the previous restoration. Thanks to the 4K DCI color space, we also have a much wider scale of grays. Another main difference between the last version and the new one is the sound. Marius has always been known for its poor sound quality. The previous DVD release even had a warning notice, inviting viewers to activate the French subtitles. Several dialogues have never been heard. Our biggest challenge was to bring them back.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): The all work was carried out at Digimage Classics, a French film laboratory specialized in digital restoration, and also the last photochemical laboratory in France. Digimage Classics is located in Joinville-le-Pont, near Paris, on the preserved site where Charles Pathé built in 1906 one of his factories dedicated to raw stock manufacturing, printing, processing, and tinting of films. Today, our lab has bridged the gap between its past and its present, providing optimal and safe conditions for digitizing and printing nitrate films.
5. What methodology was used? (up to 100 words): After a month spent repairing manually the source elements, we scanned the negative with the Arriscan wetgate system. Then, the image restoration was carried out on Diamant, during 550 hours. The 4K B&W grading, on DaVinci Resolve, was supervised by DOP Guillaume Schiffman, who worked on the Oscar-winning film The Artist and is a Marcel Pagnol specialist. We scanned the sound negative with variable density on the Resonnances system, shot by shot, over 10 days. We also used the dupe negative. Then the audio restoration happened on several Protools plug-ins.
6. What preservation elements have been generated and where will they be stored? (up to 100 words): At the end of the digital restoration, we created a 4K DCP master. Then a new black and white 35MM internegative was made on Arrilaser from the restored files. We also made an optical report and two 35mm showprints. The internegative and one of the positive showprints will be stored at the Archives Françaises du Film in Bois d'Arcy. The other showprint will be stored at the Cinemathèque française, in, Paris.
7. How and where has the restoration been presented and made available to the public? (up to 100 words): The first screening of the newly restored Marius was held during the Cannes Classics film festival, in May 2015. The film was also screened in Bologna in June 2015, during the "Il Cinema Ritrovato" festival. In October 2015, Marius was also shown in the Archives Audiovisuelles de Monaco, in front of the royal family. The 4K restored version will also be released in French theaters in December 2015, with Fanny (1932) and Cesar (1936), the two other films from the trilogy, which were restored in 4K in similar conditions. Marius will be screened soon in Hollywood at the Colcoa Festival.

The Memory of Justice (1976 Marcel Ophuls)

Restored by the Academy Film Archive in association with Paramount Pictures and The Film Foundation. Restoration funding provided by The Material World Charitable Foundation, Righteous Persons Foundation, and The Film Foundation.   |   USA

  • Margaret Bodde, Jennifer Ahn, Kristen Merola, Maria Paleologos
  • Michael Pogorzelski, Heather Linville

Country of Origin of cited work: United Kingdom
First Transmission / Publication Date since restoration: 2015-2-11
Where published (Channel/Website) since restoration: Berlin International Film Festival
Programme Duration (mins): 278 minutes


Brief Synopsis in English (up to 100 words):
Marcel Ophüls explores the relationship between individual and collective responsibility in this documentary based on Telford Taylor's book written during the Vietnam War and reflecting on issues raised during his work as Chief Counsel for the Prosecution at the Nuremberg Trials. Ophuls investigates atrocities committed by the Nazis, in light of alleged war crimes committed by the French in Algeria and the Americans in Vietnam. Interviews and archival footage offer insight from both architects and victims of evil. This monumental film raises essential questions about the moral choices made by individuals and governments in wartime.

Reason for submission in English (up to 100 words):
This culturally and historically significant film has been out of circulation for nearly 40 years and the complexities of restoring a 278-minute documentary, in three languages, containing third party copyrighted clips and music, were vast. Over the course of 10 years working on the project, original elements were discovered, rights were cleared, and the film was fully subtitled as Ophuls originally intended. THE MEMORY OF JUSTICE was restored by the Academy Film Archive in association with Paramount Pictures and The Film Foundation with funding provided by The Material World Charitable Foundation, Righteous Persons Foundation, and The Film Foundation.

Further Information:
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): The 35mm CRI representing the 1976 Paramount release was thought to be the best surviving material on the film when the restoration project began. The 16mm original negative rolls were later discovered and ultimately used for the restoration. The conformed 16mm original negative contains both color and B&W stock, consisting of 50 A/B/C/D rolls. Original overlay bands printed on 35mm hi-con stock containing titles and identification markers were also utilized for the restoration.

2. Original and restored aspect ratio and format (up to 100 words): The original negative is 16mm (1:33) and the DCP and print of the restoration retains the 1:33 aspect ratio.

3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): The documentary was released in 1976 and has been virtually unavailable since. A key difference is that the original release version contained an English-language voiceover track. During the course of the restoration, the original recordings of Ophuls' interviews with French- and German-speaking participants were discovered, and these replaced the voiceover track. New subtitles in English, French, and German were created for the restoration so that participants' and interviewer's own voices can now be heard. The Film Foundation consulted director Marcel Ophuls, who approved of this change and indicated that he had originally intended to use subtitled French and German language tracks.

4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): Digital picture restoration: Colorworks in association with Prasad Corporation Digital sound restoration: Chase Audio by Deluxe Translation and Subtitling: SDI Media

5. What methodology was used? (up to 100 words): A 2K scan of the 16mm original negative A/B/C/D rolls was done at Colorworks using a Scanity. Prasad completed frame-by-frame cleanup of dirt and scratches. Color correction was completed at Colorworks. Chace Audio by Deluxe restored the soundtrack using the original audio recordings. The film contains archival footage from various sources including newsreels and footage shot during the Nuremburg trials. A more conservative approach towards defect removal was employed in these sections. All contemporary footage received full restoration. Because of the copyrighted footage and music contained in the film, all rights were re-cleared for non-theatrical, festival, and educational screenings.

6. What preservation elements have been generated and where will they be stored? (up to 100 words): 35mm 4-track Archival Mag 35mm Optical Track Negative DCDM 35mm DI Negative LTO Data Archive: Restored and Raw Files 35mm English subtitled Print DCP with French, German, and English Subtitles HDCamSR Video Master All items are stored at the Academy Film Archive.

7. How and where has the restoration been presented and made available to the public? (up to 100 words): THE MEMORY OF JUSTICE had its world restoration premiere at the Berlin International Film Festival in February, 2015. Since its premiere, screenings include: Toronto International Film Festival (North American Premiere), New York Film Festival (US Premiere), BFI London Film Festival, Il Cinema Ritrovato, Jerusalem Film Festival, and the Philadelphia Film Festival. The German-subtitled DCP was shown at the Austrian Film Museum launching its tour screening in multiple venues throughout Austria. On the occasion of the 70th anniversary of the Nuremberg Trials there were screenings at the Memorial de la Shoah in Paris and the Deutsches Historisches Museum in Berlin.

Variete (1925 Ewald Andre Dupont)

Friedrich-Wilhelm-Murnau-Stiftung and Filmarchiv Austria   |   Germany/Austria

  • VGF Verwertungsgesellschaft für Nutzungsrechte an Filmwerken mbH Förderverein „Freunde und Förderer des deutschen Filmerbes e.V.“
  • The Tiger Lillies Produced by NFP media rights

Country of Origin of cited work: Germany
First Transmission / Publication Date since restoration: 2015-2-6
Where published (Channel/Website) since restoration: DVD & Blu-ray by NFP media rights
Programme Duration (mins): 95

Brief Synopsis in English (up to 100 words): Released in 1925 Ewald Andre Dupont's VARIETÉ was an artistically ambitious production with extraordinary visual attractions. Based on the novel by Friedrich Hollaender "The Oath of Stephan Huller" the film tells in one long flashback the melodramatic story of a love triangle. Regretting bygone times as a trapeze artist "Boss" Huller works at the local fair. Someday a young and talented woman shows up and Boss takes care of her. Soon he falls in love with Berta-Marie and leaves his wife and child to work with her. Together with trapeze artist Artinelli they become the famous "Three Artinellis". When Boss finds out that Berta-Marie is cheating on him the film climaxes in a spectacular trapeze showdown. In the end Boss kills his rival Artinelli in a knife duel.
Reason for submission in English (up to 100 words): VARIETÉ is one of Ufa's most elaborate productions aimed at giving Hollywood a run for its money. Together with director of photography Karl Freund, Dupont wanted to continue Ufa's success story by refining the "entfesselte Kamera" (unchained camera). For decades the film was only available in heavily abridged or differently cut versions which even trace back to different camera negatives. They had been duplicated by sources of unknown photographic generation, which corresponded with a certain loss of details, focus and contrast. Now for the first time two contemporary prints, one with German intertitles in a contemporary font and one edited by Famous Players Lasky for US distribution, were used for a 3K digital restoration.

Further Information
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): 35mm nitrate print from 1926 (Library of Congress, Washington) Base for the restoration, very good condition, orange tint Problems: edited for US distribution, varies from German version 35mm nitrate print partially from 1924 and 1925/26 (Filmarchiv Austria, Vienna) Completion of missing shots, contains German intertitles in contemporary font, orange tint, partially hand-coloured, reference for editing, source for titles Problems: Act one and two out of five are missing; lots of tears, scratches, dirt and beginning decomposition 35mm acetate print, presumably from 1970ies or 1980ies, reconstructed version of Filmmuseum München Completion of missing shots Problems: cut from different negatives, intertitles have not the original font, poor quality 35mm nitrate dup positive from presumably 1930 (Museum of Modern Art, New York) Completion of missing shots Problem: very incomplete, decomposing
2. Original and restored aspect ratio and format (up to 100 words): Original: 35mm, 1:1,33, tinted Restoration: 2K DCP, coloured, 1:1,33 (side matted), stereo 2.0 & 5.1 (music) HDCAMSR, coloured, 1:1,33 (side matted), stereo 2.0 & 5.1(music)
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): In 1926 the German camera negative was sent to America for distribution. It came back re-edited, severe abridged and missing lots of frames. The original editing had not been reconstructed completely since then. For decades shortened versions from Národní filmový archiv of Prague and from Filmmuseum München had been the most complete material available. One particular aim of the restoration was to reconstruct the editing as close as possible to the original German version of 1925. This was achieved by comparing different sources with a German release print of the Filmarchiv Austria which directly traces back to the camera negative and contains scenes which did not exist in previous available versions. Furthermore, the German intertitles were available in a contemporary font for the first time. The new restoration uses first generation nitrate sources to improve the films visual quality in terms of sharpness, contrast, detail and abrasion. It was also possible to digitally reconstruct the tinting and some hand-coloured takes.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): The restoration was carried out by Friedrich-Wilhelm-Murnau-Stiftung, Wiesbaden in collaboration with Filmarchiv Austria, Vienna. Friedrich-Wilhelm-Murnau-Stiftung: Supervision of the restoration, research and collating of material, reconstruction of editing,. Filmarchiv Austria: 3K wet-gate scan from nitrate sources, 3K dry scan from acetate sources, digital image restoration, colour correction, data preservation, intertitles reconstruction, photochemical preservation of nitrate sources The Tiger Lillies (music composed by Martyn Jacques) for the new score: contemporary interpretation with motifs from variety and roaring twenties for the DCP and DVD/Blu-ray release.
5. What methodology was used? (up to 100 words): Identification and dating of original prints in order to reconstruct the editing of the German distribution version. American export print was identified as the best remaining copy in terms of picture quality and completeness. Missing parts where completed mostly from the Viennese print, some from the reconstruction of the Filmmuseum München. Three shots were only extant in the MoMA copy. Reconstruction of intertitles based on the Viennese print and the censorship file of the Film Review Office. Digital recreation of the font of missing intertitles. 3K wet-gate scan of nitrate prints and 3K dry scan of additional sources. Retouching of physical damages. Automatic pass for dust removal. Removal of thick scratches only in cases, when possible without creating digital artefacts. Analogue artefacts which resulted in the film's production history were respected.
6. What preservation elements have been generated and where will they be stored? (up to 100 words): Photochemical duplication of nitrate sources (b/w dupe-negative) Data preservation on LTO of 3K raw scan, 3K DSM
7. How and where has the restoration been presented and made available to the public? (up to 100 words): On February 6th 2015 the restoration had its premiere at the 66th Berlin Film Festival in the section "Berlinale Classics" with live music by The Tiger Lillies. On the same day the DVD and Blu-ray were released by our partner NFP media rights.



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On the Night...

Kate Adie and Lord Puttnam

Lifetime Achievement Trophy

Kate Adie

Tony, Fiona, Bob

Ray Davies

Raelene and Lee

Jody Winterbottom

Robert and Jenny

Joe Lauro

?

Anne Johnson and ?

Jessica and Cathy

Raelene and Kev

? and Greg

Janet, Simon, Jo

Victoria Stable (middle)

Obi and guests

Bob, Kate, Tony, Clyde

Amanda Dantas and hostesses

Sue Malden

SKY team

Fremantle MediaArchive

Richard Melman and Simon Wood

Colleen and Alexis STALKR

Restoration team behind MARIUS

Tim Emblem-English (right)

Guests from Universal

Lucie and ?

Victoria, Julie and Susan

Antoine and Susanne

Maggi Cook

Stuart, Steve and Vero

Trevor Phillips

Kate and Denis

Margaret Bodde and Lord Puttnam

Jerry, Jessica, Cathy

Denis and Paul

Ladies

Bob and Margaret

STALKR

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Opening Ceremony 2016 Chair Sue Malden and Event Organiser Julie Lewis

 


Host Kate Adie

 


FOCAL Awards Promo