There is no more venerated name in the world of cinema than Alfred Hitchcock. His movies and methods have been studied and emulated by filmmakers around the world, and his impact on the art of directing is unsurpassed. The master of suspense made films in the United Kingdom and in Hollywood, demonstrating the adage that moving images speak a global language.

Surprisingly, in light of these facts, Hitchcock’s very early silent era work — films that offer a fascinating glimpse into the development of his style — has been in bad shape. Deluxe and the British Film Institute (BFI) have corrected this, gathering as many elements of these early films as possible and using the latest restoration techniques to resurrect them. The project required thousands of hours of painstaking work. Hitchcock fans have rejoiced.

Gate of Hell is the first Japanese feature film shot on EASTMAN Color Negative Film 5248 / Tungsten EI25. Directed by Teinosuke Kinugasa in 1953, this movie was awarded the Grand Prize in Cannes in 1954 and also won two Academy Awards®.

The restoration was a joint project of Kadokawa Pictures and the National Film Center (NFC) of the National Museum of Modern Art, Tokyo, who conducted research and led the project as film archivists. The intention was to faithfully restore the original 1953 look of EASTMAN Color Film.

Pearl Jam Twenty, Cameron Crowe’s retrospective of the rock group’s first two decades, debuts The Hollywood Reporter said that the film was “among his most effective and deeply felt work.” Crowe, an Oscar® winner for the screenplay of Almost Famous, blended archival footage and new interviews to tell the story of the band’s genesis in the Seattle grunge scene, its rocket to stardom, and its subsequent search for wisdom and balance.

The filmmaking team included cinematographer Nicola Marsh and editor Chris Perkel. Perkel says that the brain trust behind the film knew that format was a key decision.