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A View From the Vaults 2023: Films in 16 and 35mm

July 12, 2023 – August 16, 2023

The Museum of Modern Art

In the 1930s, Iris Barry, one of the founders of what would later become MoMA’s Department of Film, went to Hollywood to persuade film industry leaders to donate their film prints—a radical idea at the time, when films were seen to have little value beyond their initial theatrical releases. Barry made an impassioned plea by demonstrating their artistic significance and the fragility of the film medium, and her efforts resulted in donations from Warner Bros., Paramount Pictures, Twentieth Century-Fox, Samuel Goldwyn, Walt Disney, and Douglas Fairbanks, among others. It was around that time that the international film community began to pay attention to institutional archival work. In 1938 MoMA became one of the founding members of the International Federation of Film Archives/Fédération internationale des archives du film (FIAF), one year after receiving a special Academy Award “for its significant work in collecting films . . . and for the first time making available to the public the means of studying the historical and aesthetic development of the motion picture as one of the major arts.”

MoMA’s commitment to preserving and exhibiting celluloid material continues today, despite the widespread transition to digital filmmaking. The 2023 edition of our recurring A View from the Vaults series features film prints in 16mm and 35mm acquired since 2010—from a variety of sources, including filmmakers and distributors—by such filmmakers as Jane Campion, Michael Haneke, Abbas Kiarostami, Christopher Nolan, Jia Zhangke, Park Chan-wook, and Lynne Ramsay, and others.

Organized by the Department of Film.

Film at MoMA is made possible by CHANEL.

Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major contributions from The Contemporary Arts Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, the Association of Independent Commercial Producers (AICP), The Junior Associates of The Museum of Modern Art, and Karen and Gary Winnick.


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24 City. 2009. China. Directed by Jia Zhangke. Courtesy Cinema Guild

Attenberg. 2012. Greece. Directed by Athina Rachel Tsangari. Courtesy Despina Spryou/HAOS FILM

Bill Cunningham New York. 2010. USA. Directed by Richard Press. Courtesy First Thought Films/Zeitgeist Films

Brokeback Mountain. 2005. USA. Directed by Ang Lee.

Code inconnu: Récit incomplet de divers voyages (Code Unknown: Incomplete Tales of Several Journeys). 2000. France. Directed by Michael Haneke. Courtesy the Museum of Modern Art Film Stills Archive

Fados. 2007. Portugal. Directed by Carlos Saura. Courtesy Zeitgeist Films

Female Trouble. 1974. USA. Directed by John Waters. Courtesy Warner Brothers Classics

Irma Vep. 1996. France. Directed by Olivier Assayas. Courtesy Zeitgeist

Killer of Sheep. 1977. USA. Directed by Charles Burnett. Courtesy of Milestone Film & Video

Le Pont du Nord. 1981. France. Directed by Jacques Rivette. Courtesy

O’er the Land. 2009. USA. Directed by Deborah Stratman. Photo courtesy of the artist.

Pina. 2011. Germany. Directed by Wim Wenders. Courtesy Donata Wenders

Monanieba (Repentance). 1987. USSR. Directed by Tengiz Abuladze. Courtesy of UC Berkeley Art Museum and Pacific Film Archive

Spring Breakers. 2013. USA. Directed by Harmony Korine. Courtesy A24

Surname Viet Given Name Nam. 1989. USA. Directed by Trinh T. Minh-ha. Courtesy Women Make Movies

White Material. 2009. France. Directed by Claire Denis. Courtesy of Why Not Productions/Photofest