World War Z 2 Film

[Natalí Stibb]

TheWorld Cinema Project (WCP) preserves and restores neglected films from around the world. To date, 63 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.

Lewat Djam Malam has been digitally restored using the original 35mm camera & sound negatives, interpositive, and positive prints preserved at the Sinematek Indonesia. The original camera negative was scanned at 4K resolution.

The original sound was digitally restored using the 35 mm original soundtrack negative. Two reels were missing from the soundtrack negative, and were therefore taken from the combined interpositive. The last 2 minutes of reel 5 were missing from all available elements, but were recovered from a positive copy. The soundtrack has been scanned using laser technology at 2K definition. The core of the digital sound restoration consists on several phases of manual editing, high resolution de-clicker & de-crackle, and multiple layers of fully automated noise reduction.

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.

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 Cinmathque Franaise was used as reference.

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.

Founded in 2004, the World Cinema Fund was initiated by the German Federal Cultural Foundation and the Berlin International Film Festival. It quickly established itself as one of the leading institutions in the field of international film funding for artistic and innovative productions.

The WCF concentrates on backing the production and distribution of films from Latin America, the Caribbean and the Pacific region, Africa, the Middle East, Central and Southeast Asia, the Caucasus, as well as Bangladesh, Nepal, Mongolia and Sri Lanka. For a detailed list of eligible regions and countries, please refer to the country overview sheet (485 KB).

The goal is to promote high-quality filmmaking in regions with a weak infrastructure for film, while fostering cultural diversity in German cinemas as well as supporting collaboration between German and European producers and partners in WCF regions and countries. All WCF films completed to date have screened at cinemas and/or in the programmes of renowned festivals. Many have also won significant prizes, proof of the worldwide success of the initiative.

The WCF provides support in the fields of production, post-production and distribution for feature length films and creative documentary features. In cooperation with other institutions, new initiatives were established to develop activities beyond the own funding programme.

The World Cinema Fund is an initiative of the German Federal Cultural Foundation and the Berlin International Film Festival, in cooperation with the German Federal Foreign Office and with further support by the Goethe-Institut.

The special WCF Europe programme was launched with the support of the European Union's Creative Europe MEDIA programme. Thanks to additional funding from the German Federal Foreign Office, the special programme WCF Africa was started in 2016.

The World (Chinese: 世界; pinyin: Shji) is a 2004 Chinese drama written and directed by Jia Zhangke about the work and the life of several young people moving from the countryside to a world park. Starring Jia's muse, Zhao Tao, as well as Cheng Taishen, The World was filmed on and around an actual theme park located in Beijing, Beijing World Park, which recreates world landmarks at reduced scales for Chinese tourists. The World introduces new technologies like binoculars, coin-operated telescopes, digital cameras, mobile phones and digital services in the theme park as touristic tools to virtually travel around the world, emphasizing the globalization and convenience.[1] It is a metaphor for Chinese society to experience the sense of mobility, but the knowledge is still limited domestically and the environment of simulation is seen as a sense of escaping from the real world.[1]The World was Jia's first film to gain official approval from the Chinese government.[2] Additionally, it was the first of his films to take place outside of his home province of Shanxi.

The film premiered in competition at the 2004 Venice Film Festival on September 4, 2004,[3] but failed to win the coveted Golden Lion, the festival's top award, which ultimately went to Mike Leigh's drama Vera Drake,[4] but which Jia would win two years later with Still Life. The World also premiered in 2004 at the New York Film Festival and would go on to receive a limited release in New York City the following year on July 1, 2005.[5]

At Beijing World Park, performer Tao (Zhao Tao) is visited by her ex-boyfriend en route to Ulaanbaatar. Her boyfriend Taisheng, a security guard, meets them and insists on driving him to the Beijing railway station. Taisheng, frustrated that Tao refuses to have sex with him, is also busy with fellow migrants from his home province of Shanxi. Chen Zhijun is an introverted childhood friend of Taisheng's who has just arrived at the park; he eventually becomes a construction worker.

Tao, meanwhile, meets Anna, one of the World Park's Russian performers. Though Anna speaks no Chinese, and Tao no Russian, the two become unlikely friends. Anna confesses to Tao that she will quit her job and implies that she must prostitute herself in order to make enough money to see her sister, also in Ulaanbaatar. Later, Tao runs into Anna and it is clear that she has indeed become a prostitute. Anna runs away and Tao cries. Meanwhile, Taisheng is asked by an associate to drive a woman named Qun to Taiyuan so she can deal with her gambling brother, and he eventually becomes attracted to her. The two often meet at her clothing shop, where she tells him about her husband who left for France years ago. Since, she has tried with some difficulty to obtain a visa to join him. Though he pursues her, Qun rejects him.

Taisheng eventually convinces Tao to have sex with him, with Tao threatening that she will kill him if he ever betrays her. His life, however, quickly spirals out of control when Chen is killed in a construction accident. Some time afterwards, Wei and Niu, two other performers at World Park, announce that they plan to wed despite Niu being dangerously jealous and unstable. At the wedding, Tao discovers a text-message from Qun, who has at last received her visa, to Taisheng, saying that their meeting and relationship was destined. Believing that Taisheng has indeed betrayed her, Tao is devastated and cuts off contact with him while she house-sits for Wei and Niu. When Taisheng goes to visit her, she ignores him. Some time later, Taisheng and Tao have succumbed to a gas leak, presumably in their friends' apartment. As the film fades to black, Taisheng's voice asks, "Are we dead?" "No," Tao's voice responds, "this is only the beginning."

The World was a joint-production by Jia Zhangke's own Xstream Pictures, Japan's Office Kitano, and France's Lumen Films. It received additional financial support from the Shanghai Film Studio and several Japanese corporations including Bandai Visual and Tokyo FM, among others.[3]

The film's nascence began after Jia had lived in Beijing for several years in 2000. After two films based in his native province of Shanxi, Jia decided to make a film about his impressions of Beijing as a world city,[6] after a cousin back home asked him about life in a metropolitan environment.[7] Jia, however, would not began writing the screenplay until after the release of his next film Unknown Pleasures, in 2003 during the SARS outbreak.[6] The screenplay took approximately a year to write, over which time the story slowly changed, such that it became harder to distinguish the fact that it took place in Beijing, and the focus of the setting shifted to that of any large city with many migrants in it.[6] Filming of The World took place on location at the actual Beijing World Park, as well as at an older but similar park, Window of the World, that sometimes served as a stand-in and is located in the southern city of Shenzhen.[8]

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