A film projection workhop in Tunisia
Interview with Lilia Ben Achour from Focus Archive, who recently set up a film projection workshop in Gabès, Tunisia, about this initiative and the state of photochemical film projection in this country, past and future.
How did this idea come about?
The idea is directly linked to my career path. I grew up in the film club movement, then taught audiovisual archive management at university and worked as artistic director of the National Film Archive. My career path is therefore closely linked to the history of cinema and its media. On several occasions, I wanted to program and screen films on film, but I came up against a reality: experienced projectionists who were often nearing the end of their careers, a generation that had not really passed on its know-how, theaters that were no longer equipped with the appropriate equipment, and above all, a cinematographic and audiovisual heritage that had not been migrated to current media. This situation made me realize the urgency of the situation: it is essential to preserve and pass on these technical skills, without which this heritage would remain inaccessible.
It is in this context that the Focus Archives project led to the creation of this training program, as a space to revive these skills and pave the way for a new generation of projectionists.
What were the exact dates, duration of the training, and number of participants?
The training took place from June 10 to 12, 2025, in Gabès and lasted three days, alternating between theoretical and practical sessions. It brought together 12 participants, mainly from the Gabès region: film students, young directors, film photography enthusiasts, and an archivist, all driven by an interest in film projection and the history of movie theaters.
What was the feedback?
The feedback was very positive. As always, the wonder of seeing a projector in action remains unmatched, and I must admit that I love provoking this effect! The participants expressed great curiosity and genuine enthusiasm at handling 16mm and 35mm reels for the first time. Many discovered the physicality of film and the technical skills involved in handling it. Some even expressed a desire to pursue this field or to incorporate film projection into their cultural projects.
When do you think something like this last happened in Tunisia?
To my knowledge, there has never been any structured training in film projection in Tunisia. Even the older projectionists learned their trade on the job, through practice, rather than through formal training leading to a qualification. With the rapid transition to digital in the 2000s, this expertise has been gradually and almost completely lost.
Are young people in Tunisia interested in film projection? In watching films on film?
Yes, absolutely. During the training, young people showed real interest, and even older people expressed a strong sense of nostalgia. Film projection arouses both technical and aesthetic curiosity. Watching a film on film is a unique sensory experience, with its grain, its light, and even its imperfections. For many, it was both a discovery and a rediscovery of cinema as a living experience. Several participants also became aware of the complexity of this skill, the risks and stress involved in this mission, especially when compared to digital projection today.
How many theaters or festivals in Tunisia can screen films on film?
Currently, only a few venues still have functional film projectors, notably the Tunisian Film Library, as well as certain institutional theaters that have kept their equipment, but rarely in working order. As for festivals, their use is extremely limited: the vast majority screen exclusively in digital format. This situation reinforces the need for initiatives such as Focus Archives, which work to rehabilitate these practices and create dedicated spaces. With this in mind, we are working to make our screening room, which seats around 50 people, a venue dedicated to film.
Great! Would you tell us a bit more about this screening room?
This venue was designed with the two ideas of recycling and sharing knowledge in mind: we installed fifty seats from an old movie theater in Gabès, saving a piece of local heritage while giving it a new life. The space is equipped with a 35mm projector and a 16mm projector, as well as rewinds and an editing table, so that participants can learn about the full technical process, from handling film to projecting film. The goals of this space are twofold: to promote the experience of analog film projection to the public and to provide a comprehensive learning environment dedicated to the essential skills of preservation. With this in mind, I am also planning to offer training in mechanical restoration, to enable participants to master the entire process of working with film.
Do you have anything else to share about this experience?
Yes. This training not only provided technical skills, but also raised awareness of heritage, which is at the heart of my commitment and which I promote through the Focus Archives project. Film reels are a fragile form of memory that requires expert hands to ensure their continued existence and circulation. The training also strengthened the ties between technicians, researchers, and film enthusiasts, paving the way for a collective dynamic around the preservation and promotion of film heritage in Tunisia.
When is the next training course?
I’m already planning the next one! In January 2026, we will be organizing a mechanical restoration workshop based on a film collection recently acquired through donation. Participants will learn the essential techniques for physically repairing films: cleaning, gluing, treating scratches, etc. These are all crucial steps in ensuring the preservation and preparing the digitization of this fragile heritage.