To Save and Project : The 21st MoMA International Festival of Film Preservation

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The Museum of Modern Art’s annual To Save and Project festival returns in 2025, offering a dazzling lineup of newly restored cinematic treasures from around the globe. This year’s program invites audiences on a journey through nearly a century of film history, spotlighting the artistry and cultural richness preserved by international archives. From the haunting visual style of Robert Wiene’s Raskolnikow (1923) to the avant-garde brilliance of James Bidgood’s Pink Narcissus (1971), the festival underscores the enduring power and diversity of cinema.

Global contributions shine brightly, with films from Argentina, Thailand, India, Syria, and the Czech Republic taking center stage. Among the highlights is the rediscovery of Yevgeni Cherviakov’s Soviet gem My Son (1928), unearthed in Argentina and meticulously restored by GEM. Hollywood’s risqué pre-Code era is represented by The Greeks Had a Word for Them (1932), a sharp comedy brought to life by the Library of Congress. André Bonzel’s Flickering Ghosts of Loves Gone By offers a poignant exploration of memory and love through repurposed home movies, courtesy of Janus Films.

This year’s restorations are a testament to the vital work of institutions such as The Film Foundation, UCLA Film & Television Archive, the Cinémathèque française, and Filmmuseum München. The festival opens on January 9 with the world premiere of MoMA’s state-of-the-art restoration of Frank Borzage’s 7th Heaven (1927), a transcendent romance, and concludes on January 30 with the unveiling of Charles Chaplin’s original 1918 version of Shoulder Arms, a comedic masterpiece of World War I.

Curated by Dave Kehr, MoMA’s Department of Film, and independent curator Cindi Rowell, To Save and Project 2025 is both a celebration of cinema’s legacy and a reminder of the critical importance of preservation. It’s an unmissable event for film lovers eager to experience the magic of restored classics and rediscovered treasures on the big screen.