István Szabó is bringing some “Sunshine” to Cannes Classics.
His 1999 historical epic, starring Ralph Fiennes, Rachel Weisz, John Neville and Jennifer Ehle, followed generations of a Hungarian-Jewish family until the mid-20th century. No stranger to Cannes thanks to award-winning “Mephisto” (which also picked up an Academy Award) and “Colonel Redl,” Szabó wrote the script with Israel Horovitz.
The full 4K digital restoration of the film was “prepared especially for Cannes,” reveals NFI’s Filmlab director Viktória Sovák.
“The frames of the 181-minute-long film were partially corrupted and dotted with large white spots. During color grading, carried out with [the film’s original] cinematographer Lajos Koltai, the opportunity arose to make minor adjustments to the digital material that were not possible at the time it was shot. His greatest pleasure came with being able to bring out even the most minute details, which was impossible in the analogue era.”
Overall, Szabó’s nine feature films and five shorts have undergone “complete restoration” at NFI.
“Sunshine” was produced by András Hámori and Robert Lantos, with the latter set to attend the screening at the fest alongside György Ráduly, director of the film archive at National Film Institute and Szabó himself, who will receive a special tribute as part of the centenary celebration of the International Federation of Film Critics (FIPRESCI).
“Cannes was the place where FIPRESCI gave its first award ever in 1946, and it’s only logical to make our celebration here related to the federation’s tradition of highlighting unique cinematic achievements and reminding the world of real talents. István Szabó got the FIPRESCI award in Cannes 1981 for ‘Mephisto’ and 44 years later he will receive a FIPRESCI 100 Lifetime Achievement Tribute,” notes its president Ahmed Shawky.
Szabó’s “extremely happy” about the restoration, he reveals in a statement shared with Variety, sharing a story behind it that he wouldn’t like to be forgotten.
“In 1991, the National Film Archive became a public collection. This helped in the realization that saving Hungarian film history depends on restoration. The technical development of restoration, the thirst for professional knowledge shown by the staff of the archive, the introduction of digital techniques were all opportunities to bring old films back onto the screen and give them visibility.”
But the most important thing was a “change in attitude.”
“And the recognition that the archive’s most fundamental mission is keeping Hungarian film collecting alive and promoting this. It is a great joy for me, personally, that ‘Sunshine’ is one of these restored films, thanks to a surviving Canadian dub copy, staff of NFI Film Archive and Filmlab, the work of Lajos Koltai and the determination of producer Robert Lantos.”
At the end of 2024, the Lab welcomed three new Photomec Silver Light Compact processors, while the developing hall underwent complete technical renovation. “These new machines are very important for the long-term preservation of digitally restored classic films. With the analog film recording and positive printing, we can guarantee they’ll be safe for a long time, as the lifespan of black-and-white film is currently estimated at 500 years.”
The work doesn’t end with Cannes, however – upcoming edition of animation festival Annecy will shine a light on Hungarian films, points out Sovák. To commemorate the 111st anniversary of Hungarian animation, four features and 24 shorts were also restored.
“The restoration of animation films is really tough work. Our specialists had to remove every defect manually, frame by frame.”
The restoration of Hungarian movies – and saving of nitrate film stock – started all the way back in the 1990s. In the framework of the NFI Film Restoration Programme, 4K restoration of Hungarian films has been ongoing since 2017. Since then, a total of 403 feature films and documentaries, animations and shorts have undergone complete restoration, and 55 volumes of newsreels have been digitized.
That includes the works of Zoltán Fábri, Miklós Jancsó, Márta Mészáros, Béla Tarr, Judit Elek and Gábor Bódy. In 2025, NFI initiated the event series “Károly Makk 100,” celebrating the director of “Love” and restoring his 13 works.
Apart from its studios and highly skilled crews – “Even the biggest production can find everything in one place when shooting in Hungary. They don’t need to bring a huge team from abroad” – international producers also appreciate Hungary’s “exceptional post-production facilities,” she states.
“NFI Filmlab is one of the very few film laboratories in Europe that provides overall film post-production services. We offer the complete analogue services combined with cutting-edge digital solutions.”
Latest projects include Pablo Larraín’s “Maria,” Yorgos Lanthimos’s “Poor Things” and Brady Corbet’s “The Brutalist.”
“Restoring a film involves not only sharp technical skills but also a deep understanding of film history. It is this respect for the work, combined with our technical experience, that attracts clients from around the world.”
Serendipity Point Films
