A unique restoration project – Q&A

The unique story of the survival of "Mir kumen on", the memories about it and its archival life, will be the subjects of a Q&A which will take place after the premiere of the film. After all, the film was shown in various countries, in different versions for the various local audiences. These variations were incomplete and re-edited, and on top of that, they had overlapping subtitles from different language versions. The task of creating one version which would be as close as possible to the original was a real challenge. The restoration of the film, in terms of reconstructing the original cut from the preserved copies and the image remastering, was performed in France at the Lobster Films studios, while the soundtrack was restored by the French studio, L. E. Diapason. The work was completed in 2016.

Taking part in the discussion will be the partners involved in the restoration project  Serge Bromberg (Lobster Films), Martin Koerber (Deutsche Kinemathek), Elżbieta Wysocka (FINA) and Anna Szczepańska (Paris 1 Panthéon Sorbonne).

Special guests at the premiere of "Mir kumen on" will be members of Aleksander Ford’s own family: Konstancja Ford – daughter of A. Ford, Roman Ford – son of A. Ford Johannes Ford Holmberg – grandson of A. Ford and the oldest son of Roman Ford and representative of the rights holder and initiator of the project  Lea Minczeles from the Medem Center in France – accompanied by her granddaughters: Cécile Braun and Camille Minczeles.



Seeker of missing movies, conservator and film restorer, Serge Bromberg founded the Paris-based company LOBSTER FILMS in 1985. He has been a TV presenter, a piano accompanist for silent movies and also the Artistic Director of the Annecy International Animated Film Festival for 15 years. The award-winning director of L’enfer d’Henri-Georges Clouzot (2009), he has restored hundreds of films, including Méliès’s Trip to the Moon and many Charlie Chaplin and Buster Keaton shorts. He is a member of the board of Cinemathèque Française (the French film archive) and President of ECPAD (the French Army’s Cinema Unit and Archive). Thanks to the prompting of a Minczeles, his friend and neighbour, he initiated and supervised the restoration of Mir kumen on in collaboration with the film archives in Warsaw, Berlin and New York. 

Professor in the Department of Audiovisual and Photographic Heritage at the Hochschule für Technik und Wirtschaft Berlin (HTW Berlin) and the head (since 2007) of the Deutsche Kinemathek Film Archive – Film and Television Museum.

Professor Koerber studied media, art history and musicology at the Freie Universität Berlin. From 1986, he worked on a freelance basis for Deutsche Kinemathek, Nederlands Filmmuseum and other film archives, before then taking up a permanent position at Deutsche Kinemathek from 1999-2003.

From 1988, he was involved in numerous restoration projects of German film classics, such as M, The Testament of Dr. Mabuse and Metropolis, and from 1995 to 2003 he was the organiser of retrospectives for the Berlin International Film Festival.

Head of Film Restoration and the Digital Repository at the National Film Archive in Warsaw, Poland, Dr. Wysocka is responsible for overseeing the National Film Archive‘s digital collection and supervising the digitization and restoration of film materials. An art conservator by training, she wrote her Master‘s thesis on video preservation (2006). After starting her career with the National Film Archive, she obtained her doctorate from the Intermedia Department at the Academy of Fine Arts in Krakow on the theory and practice of the preservation of film, video, performance and net art and she has written numerous articles on the subject. She is the winner of a competition run by the National Centre for Culture for the best doctoral thesis in the field of cultural sciences  published by NCK in 2013: "Wirtualne ciało sztuki. Ochrona i udostępnianie dzieł audiowizualnych" (Virtual Body of Art. The Preservation and Access of Audiovisual Art).

Anna Szczepańska teaches film history in the Art History Department at the University of Paris 1 Panthéon-Sorbonne. She has a particular interest in Polish film history, both feature films and documentaries. She took part in the French research programme CINESOV on war cameramen shooting on the Eastern front during WWII. She directed the documentary Nous filmons le peuple! (We Film the People!) in 2012, a French-Polish co-production about Polish filmmaking in the time of the Polish People’s Republic (PRL). She is the co-author of the book A qui appartiennent les images? (Who Do The Images Belong To?, MSH, 2017) on identity and the ownership of archival photo collections.

When and Where

31 August 2017, 19.00

Iluzjon Cinema

ul. Narbutta 50a

02-541 Warsaw