Film Restorations
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“To look at the present with that future perspective that only the past provides.”

The programming of various Film Festivals is a search between the promise of the present cinema and the opportune revision of the films that form part of an important trajectory or a representative moment; movies whose preservation and restoration by Cinematheques and private companies, become a splendid legacy. To look into the present without forgetting the past assumes special meaning before the challenge implied in the construction of the University of Guadalajara’s Cinematheque.

Our revision of classic cinema starts with Saint, copy provided by UNAM’s Cinematheque (Luis G. Peredo); filmed in 1918 after 15 years of the publication of the novel by Federico Gamboa. Throughout this time, the book, a bestseller of its period, recounts the misfortunes of the adolescent from Chimalistac, and becomes a reference of our cultural modernity laying the foundations for the flourishing of the mexican melodrama. The 100 years of Santa, occur in the context in which women came forward against harassment and sexual violence.
El Vampiro (Fernando Méndez) which turns 60 and has been restored by Alameda Films is the masterpiece of mexican horror cinema.
While the birth centenary of Rodolfo Guzmán, el Santo, took place in September 2017, the digitally restored Santo contra Cerebro del mal (Joselito Rodríguez,) which is no other than the first movie by the silver-masked-man will be presented in this edition. The restoration work carried out by Permanencia Voluntaria Archivo Cinematográfico, led by Viviana García Besné, allows for that festive collective ritual that occurs with every Santo’s movie, to be experienced in the cinema theater.
Santo contra Cerebro del mal, was filmed in Habana at the outset of the rebel forces. And nine years after, in 1968 one of the most emblematic films of the cuban revolution is born: Lucía by Humberto Solás, who departing from three of the island’s historical moments -independence, the XXth century 30’s and the battle against Batista- recreates the woman’s situation.
Each of these films embodies a singular importance: to look at the present with that future perspective that only the past provides. These works are in one way or another, the foundation for the efforts by the Cinematheque of the University of Guadalajara.

Gerardo Salcedo Romero

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