Select Restorations

Having led numerous preservation and restoration initiatives for works originally created on film and videotape, I have cultivated a particular expertise in the realms of documentary, experimental, animation, and home movies—especially, though not exclusively, those created by women. Over the years, my work has been dedicated to preserving and reintroducing these vital cinematic contributions.

Through my ongoing involvement with the Women’s Film Preservation Fund, I have project-managed and overseen the preservation of seminal works by pioneering Second Wave Feminist filmmakers, such as Julia Reichert (Growing Up Female, 1971; Union Maids, 1976) and Sheila Paige (Women’s Happy Time Commune, 1972). Additionally, I have had the privilege of collaborating with independent filmmakers such as Mirra Bank, Kavery Kaul, and Barbara Hammer to safeguard and restore their influential films, ensuring their continued presence on both large and small screens.

Independently, I have produced 4K restorations through archive and foundation-supported projects. Notable highlights include...

Keeping motion pictures alive and in circulation supports both artists and the cinema landscape

Asylum

Restoration Producer

Asylum (2003, Color, Black & White, 21min), directed by Sandy McLeod, produced by Gini Reticker tells the story of Baaba, a heroic young Ghanaian woman, who narrowly escapes female genital mutilation and is forced to seek refugee status in the U.S.

Asylum was official selections at SXSW and Sundance Film Festivals. The documentary was nominated for an Academy Award and has been archived and digitally restored by the Academy Film Archive.

Building Bombs

Restoration Producer

The Academy Award-nominated documentary Building Bombs (1990, Color, Black & White, 60min) Directed by Mark Mori & Susan J. Robinson returns in a timely restoration, exploring the environmental and social impacts of nuclear weapons production in the U.S. The film focuses on the Savannah River Plant in South Carolina, a facility operated by the Department of Energy that played a crucial role in producing materials for the U.S. nuclear arsenal during the Cold War.

Through interviews with plant employees, government officials, and local residents, Building Bombs exposes the stark divide between those who see the plant as an economic lifeline and those who recognize its long-term hazards. It delves into the consequences of decades of nuclear production, from toxic waste and environmental contamination to the dangers faced by workers and surrounding communities. As former Savannah River Plant employees reflect on their experiences, their words carry the weight of personal and collective reckoning.

Narrated by Jane Alexander, Building Bombs offers a critical perspective on nuclear proliferation, government secrecy, and the human cost of the arms race. It was nominated for an Academy Award for Best Documentary Feature in 1991. Building Bombs has been archived and digitally restored by the Academy Film Archive. The restoration will be available soon through Music Box Films.

One Hand Don’t Clap

Restoration Producer

One Hand Don’t Clap (1989, Color, Black & White, 89min), directed by Kavery Kaul captures the vibrant story of calypso and the emergence of soca through the eyes of two legendary artists, Lord Kitchener the Grandmaster of the music and Calypso Rose, the first woman to break through in a traditionally male arena.  An avenue for political expression, calypso reflects regional and global themes that continue to resonate. Featuring artists across the 20th century, tracing the evolution of a musical style that has found its way to ever-broadening audiences worldwide.

Official Selection at Telluride, Rotterdam and London film festivals. It’s restoration premiered at the Trinidad Tobago Film Festival, the Museum of Modern Arts’ To Save & Project festival, the Brooklyn Academy of Music, Cinema Rediscovered in Bristol, UK.

Archived and digitally restored by the Academy Film Archive with additional support from the Women’s Film Preservation Fund. Its restoration is distributed by Kino Lorber, theatrical, DVD, restoration trailer.

Fire From the Mountain

Preservation Consultant

Based on the autobiography of Nicaraguan author Omar Cabezas, Fire From the Mountain (1987, Color, 60mins), directed by Deborah Shaffer is the lyrical, earthy, sometimes humorous account of the author's political journey from student activist to guerrilla to government official.

Official Selection of Sundance and New York Film Festival. Archived at University of Austin Texas and digitally preserved in part through a grant from LightPress Cinema Society. Its preservation is distributed by Kino Lorber as part of the Deborah Shaffer Collection.

Wild at Art

Restoration Producer

In Wild at Art (1995, Color, 8.5min) directed by Kavery Kaul, artist Pacita Abad discusses her personal, artistic and political history, passion for world travel, and using her art as a vessel for highlighting the influence and diversity of women’s art practices around the world.

This film is part of the first retrospective of Pacita Abad, an exhibition tour which originated at the Walker Arts Center, Minneapolis, continued on to MoMA PS1 in New York City, and SFMOMA in San Francisco. The documentary has been archived and digitally restored by the Academy Film Archive.

From the Ashes: 10 Artists

Restoration Consultant

Director Deborah Shaffer made one of the first post-September 11th films, From the Ashes: 10 Artists (2001, color, black and white, 55min), followed by From the Ashes: Epilogue (2002, color, 35min) which chronicle Tribeca and downtown Manhattan artists' reactions to 9/11. Featuring Laurie Anderson, Skip Blumberg, Lisa Corinne Davis, Barbara Friedman, Jane Hammond, Tony Nunziata, Pat Oleszko, Joseph Rodriguez, Oscar Santiago, and Shahzia Sikander.

From the Ashes premiered at Sundance and Tribeca Film Festivals. Its epilogue, created one year later, premiered at Tribeca. Both documentaries have been archived and digitally restored by the Academy Film Archive. Its restoration is distributed by Kino Lorber as part of the Deborah Shaffer Collection.

To learn more specifics, please visit my Services page or Contact me.