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Restoring Merrily We Go to Hell, One Warp at a Time
A member of Criterion’s team of digital-restoration artists details how he tackled the biggest challenge he faced while working on Dorothy Arzner’s 1932 film.
The Criterion Collection
A member of Criterion’s team of digital-restoration artists details how he tackled the biggest challenge he faced while working on Dorothy Arzner’s 1932 film.