First was the restoration of David Rimmer's stunning 1970 Variations on a Cellophane Wrapper, an ingenious warbling and warping of a still frame through the dynamic movement of found footage flotsam featuring a young woman waving cellophane at the camera.
The whole Wavelengths section began with an old-new film and a new-old film, two wry studies in repetition and variation. It is the section which for me is the most pleasurable, the most rewarding at TIFF and also the most personal, as all the other sections lack the tangible sensibility found in Wavelengths, the sense of choices being made by curators, not just overcrowding of films into arbitrary categories. Those may be the only two features shown on film, but of course-of course-there is plenty of projected film in evidence at Andréa Picard's shorts programs in her Wavelengths section.
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I wonder if things would be any different if over the last 100 years all movies shown on film were preceded with a trailer proclaiming the wonders of the 35mm projectors about to unfurl new wonders before our eyes? Another disheartening battle lost to film, as even normal theaters (leaving aside 3D and IMAX prestige venues) are conditioning us to think of their experiences as part of the teleological climb ever-upwards of technology one needs to continuously upgrade to, pay more for. I keep seeing, before the movies start, prerolls for Christie digital projection systems even a blasé audience member couldn't help but notice these booming, grandiose bumpers proclaiming the projectors' cutting edge technology.
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Lewis's Gun Crazy (last year the similarly restrained TIFF Cinematheque retrospective program also only featured one movie shown on film). I don't know if you heard, Fern, but apparently there are only two feature films at TIFF this year projected on 35mm-Raya Martin and Mark Peranson's La última película (which, incidentally, in its story claims to have bought up all the remaining film stock in the world to use on the picture) and, unexpectedly, Joseph H. Above: a publicity image from Albert Serra's Story of My Death.
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