Keeping the classics rolling

Launched in 2011, the program has spent over a decade rescuing titles from the physical and chemical toll that time takes on celluloid. Without intervention, film is a fragile medium; it is susceptible to physical scratches, the fading of vibrant dyes and ‘vinegar syndrome' – a chemical decay in which the acetate base breaks down, releasing a pungent, acidic scent while causing the film to shrink and buckle. In humid conditions, mould can also take hold, literally eating away at the image.

Restoration process

The restoration process is a high-tech, frame-by-frame labour of love that begins long before a scanner is turned on. Our preservationists must first conduct a 'component hunt', sourcing the best possible elements – such as original picture negatives, interpositives and separate magnetic soundtracks – to ensure the highest fidelity. Once digitised, the technical work involves painstakingly removing thousands of instances of dirt and debris, stabilising shaky images, colour grading and performing a sophisticated sound mix to clear away decades of hiss and crackle. Every step is guided by a commitment to the creator's intent, often involving the original directors or cinematographers to ensure the digital grade matches their original vision.

To date, the NFSA has restored over 100 titles, giving them new life now and into the future. Our curatorial approach is driven by a commitment to diversity across era, genre and story, reflecting the many faces of Australia across different eras:

The silent era (1900s–1920s)

We’ve restored foundational works like The Cheaters (1929, dir. Paulette McDonagh) – one of the earliest Australian films made by a team of female filmmakers – and the iconic The Sentimental Bloke (1919, dir. Raymond Longford).

The 'New Wave' and beyond (1970s–1980s)

This era brought us classics like Storm Boy (1976, dir. Henri Safran), My Brilliant Career (1979, dir. Gillian Armstrong), and the wildly original The Cars That Ate Paris (1974, dir. Peter Weir).

Diversity of perspective

We prioritise stories that represent the breadth of the Australian experience. Key restorations include My Survival as an Aboriginal (1978, dir. Essie Coffey), the first documentary directed by an Indigenous woman; Floating Life (1996, dir. Clara Law), a nuanced look at the Chinese-Australian diaspora; and Radiance (1998, dir. Rachel Perkins), a powerful drama about three Indigenous sisters. We also revived the landmark LGBTQIA+ documentary Witches and Faggots, Dykes and Poofters (1980, dir. Digby Duncan).

From the grainy black-and-white of the 1900s to the saturated hues of the 1990s, NFSA Restores ensures that these stories continue to be enjoyed as their creators intended.

Criteria for film selection

• Culturally significant films – features and documentaries where the content or creativity will also find a new audience
• At-risk films with original materials calling for restoration
• Popular films that have resonated with the media and the public, either critically or at the box office
• Future cult hits and films awaiting rediscovery
• Early works of key creatives, filmmakers or actors

We work with the best available original picture and sound materials, from the NFSA collection and around the world. 

We work with restoration partners and copyright owners to ensure that audiences around Australia can enjoy these restored films and give them life beyond their original release.

Once preserved in the NFSA collection, the restored films are digitally migrated every five years to ensure their format remains current, and they continue to be available as Digital Cinema Packages (DCP) for screening.