Kodak Film Awards 2024: Film Renaissance & Industry Comeback
Hollywood celebrated a remarkable resurgence of celluloid at the eighth annual Kodak Film Awards, held at the American Society of Cinematographers (ASC) Clubhouse. The event wasn’t just a showcase of stunning cinematography, but a testament to the film industry’s unexpected and vibrant comeback, a narrative underscored by Kodak’s own dramatic turnaround.
Kodak CEO Jim Continenza recounted the company’s precarious position when he joined in , burdened with over $1 billion in debt. Internal discussions at the time questioned the long-term viability of focusing on film, wondering if it would turn into a niche market for enthusiasts rather than a profitable business. Still, Continenza announced to attendees that, seven years later, Kodak now holds more cash than debt – a stunning reversal of fortune.
The positive momentum extends beyond Kodak’s balance sheet. Vanessa Bendetti, Kodak’s vice president and head of motion picture, revealed that saw the company’s highest film stock sales since . This resurgence is fueled, in part, by a renewed commitment to technological advancements. “We were able to double our 65mm finishing capacity so that we could retain pace with Christopher Nolan,” Bendetti explained, a comment that drew laughter from the audience, acknowledging the scale of Nolan’s productions and their demand for the format.
The awards gala highlighted the growing presence of film in both feature films and television. The Amazon sci-fi series Fallout was specifically cited, having used 4.5 million feet of film across its first and second seasons. Bendetti enthusiastically encouraged more television productions to embrace film, stating, “If you’re up for a TV indicate, please think about shooting film. It feeds our factory and we appreciate the Fallout team’s commitment to the medium.” the forthcoming third season of Euphoria will be the first narrative TV program to shoot significantly on 65mm.
Several prominent figures were recognized for their contributions to the art form. Autumn Durald Arkapaw, ASC, nominated for both an ASC Award and an Academy Award for her work on Sinners, received a Lumière Award. Her acceptance speech focused on the importance of supportive networks, praising Sinners’ writer-director Ryan Coogler for championing his collaborators. Other nominees in attendance included Michael Bauman (One Battle After Another) and Adolpho Veloso, ABC, AIP (Train Dreams). Veloso reflected on his journey, noting the surreal experience of returning to the ASC Clubhouse as a nominee fifteen years after attending a masterclass there as a student.
The inaugural Keighley Award, named in honor of Imax pioneers Patricia and the late David Keighley, was presented to Patricia Keighley by Christopher Nolan. Nolan shared fond memories of his collaboration with David Keighley, describing him as a mentor and a key enabler of his ambition to shoot Hollywood films on Imax film. He also revealed that David Keighley completed work on Nolan’s upcoming adaptation of The Odyssey shortly before his passing.
Joachim Trier, director of Sentimental Value, was presented with the Auteur Award by Jason Reitman. Trier spoke about the unique atmosphere created by shooting on film, noting that the sound of the camera itself – “that sound of a purring cat” – fosters a heightened sense of focus and urgency on set. This sentiment was echoed by Corey C. Waters, cinematographer on Kristen Stewart’s directorial debut, Chronology of Water, who described that urgency as “maybe the greatest gift that film has to offer – outside of the colors, which are unsurpassed.”
Kristen Stewart, honored with the Debut Feature Award for Chronology of Water, delivered a passionate acceptance speech, vowing to never shoot digitally. “All of the things that we cannot say, we point to in our dreams,” Stewart told the audience. “And our dreams become our films. I never desire to record anything. I want to roll. I want to burn. I want to make pictures.”
The Kodak Film Awards served as a powerful reminder of film’s enduring appeal and its continued relevance in a rapidly evolving cinematic landscape. The event wasn’t simply a celebration of past achievements, but a hopeful signal of a bright future for the medium, driven by both artistic vision and technological innovation.