The World Cinema Project (WCP) preserves and restores neglected films from around the world. To date, 50 films from Africa, Asia, Eastern Europe, Central America, South America, and the Middle East have been restored, preserved and exhibited for a global audience. The WCP also supports educational programs, including Restoration Film Schools; intensive, results-oriented workshops allowing students and professionals worldwide to learn the art and science of film restoration and preservation. All WCP titles are available for exhibition rental by clicking "Book This Film."
Lewat Djam Malam (After the Curfew) is a passionate work looking directly at a crucial moment of conflict in Indonesian history: the aftermath of the four-year Republican revolution which brought an end to Dutch rule. This is a visually and dramatically potent film about anger and disillusionment, about the dream of a new society cheapened and misshapen by government repression on the one hand and bourgeois complacency on the other.
The restoration of Al Momia used the original 35mm camera and sound negatives preserved at the Egyptian Film Center in Giza. The digital restoration produced a new 35mm internegative. The film was restored with the support the Egyptian Ministry of Culture.
The restoration of the uncut version of A Brighter Summer Day used the original 35mm camera and sound negatives provided by the Edward Yang Estate and preserved at the Central Motion Pictures Corporation in Taipei. Due to the deterioration of the original camera negative an intermediate of the film printed at the time was also used. The digital restoration produced a new 35mm internegative.
The 4K restoration of CHESS OF THE WIND was completed using the original 35mm camera and sound negatives. Color grading required meticulous work, notably reels 9 and 10 which called for an orange-tinting effect reminiscent of early silent cinema. The restoration was closely supervised by Gita Aslani Shahrestani and Mohammad Reza Aslani; the film's cinematographer Houshang Baharlou also contributed to the grading process.
The original camera negative, outtakes from the same element, and the interpositive were integrated to match a 35mm vintage print provided by the filmmaker as a reference. Color grading was supervised by Mohammed Lakhdar-Hamina.
A new digital transfer was created from the 35 mm original camera negative, preserved at the National Film Archive of India in Pune. This element includes several shots inserted from a duplicate negative. A 35 mm print from the Library of Congress was used for sections of the film where the original camera negative was damaged or incomplete.
The 4K restoration of CONTRAS' CITY was made from the internegative as well as the original sound negatove provided by Teemour Mambéty and preserved at LTC Patrimoine. A vintage print of the film was used as reference for color grading.
Nazar merupakan film Indonesia yang dirilis pada tahun 2009 yang disutradarai oleh Sofyan D. Souza. Film ini akan dibintangi antara lain oleh Jessica Iskandar, Renata Kusmanto, Adelia Rasya, Ben Joshua, dan Ytonk Club80s.
The Mechamato Movie is a prequel movie to the animated series Mechamato (Series) produced by Animonsta Studios and first released on December 8th 2022. The film follows an origin of Amato encountering MechaBot in a fallen and destroyed prison spaceship in the forest near Kota Hilir town, which Amato eventually masters MechaBot and later hunted by Grakakus, the evil Power Sphere hunter.
The movie was originally planned to be released in 2020 earlier than the animated series, due to several COVID-19 pandemic, the movie was postponed several times until finally being released in 2022. On July 8th 2022,Monsta has announced the release of Mechamato Movie on December 8th 2022 in Malaysian cinemas including MBO, etc. Later, Monsta released first 10 minutes film via YouTube in order to attract more fans to watch the film.
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Publicity poster for the first screening of Desire, as one of several short films by Candra Aditya and Angkasa Ramadhan that were shown at an event organized by Provoke! magazine and Sinemasochist. Desire now circulates on various online platforms, including YouTube and Viddsee. Note the use of English, despite the location of the screening in Jakarta.
On 13 December 2013, the Central Jakarta Business Management Court (PTUN) acceded to an injunction made by one of Sukarno's daughters, Rachmawati Soekarnoputri, to halt the film's release. Some film critics had criticised the film for being too commercialised and taking liberties in its depiction of historical events and characters. Subsequently however, on 7 January 2014, the PTUN decided to overturn its earlier decision and allow the film to be shown.
In September 2013, Sukarno's daughter, Rachmawati Soekarnoputri, said that she had felt betrayed by the production studio MVP Pictures and resisted the release of the movie production in its current form. She wanted actor Anjasmara to play Sukarno in the film, but the director, Hanung Bramantyo, stuck to his choice of Ario Bayu. However, Rachmawati felt that Ario did not meet her expectations in his portrayal of her father. She had also complained that she was not permitted to give directions or provide feedback on Ario's presentation and interpretation of the gestures and mannerisms of the lead character, something she felt was necessary for him to better portray her father. On 23 September 2013, the dispute came to a head with Rachmawati reporting Hanung Bramantyo to the police on allegations of defamation. At the same time, Hanung publicly stated that he believed Rachmawati's motive for the public dispute with him was purely to seek publicity and popularity for herself. The movie's release went ahead despite the dispute. On his part, the director believed that the movie was historically accurate. "I will continue to screen Sokarno because there is nothing wrong with the movie," he said in September 2013. He said that Rachmawati only had the right to give her advice but not to make any actual decisions concerning the film itself. He also said that matters concerning the making of a film were the sole prerogative of the director. 2b1af7f3a8