The ability to respond to one’s surroundings and capture authentic, "magical" moments is a rare cinematic quality, often challenging to preserve in modern film production. The analog format, with its inherent limitations—both positive and negative—adds a unique, painterly quality to the process, something unpredictable and beyond control. At the same time, it introduces new working methods and a distinct set of production challenges and constraints.

French filmmaker Gaëlle Rouard is renowned for her unwavering dedication, deep knowledge, and extensive experience with the analog format, particularly in experimenting with film development and manipulating film negatives. Viewing herself as a painter, Rouard approaches filmmaking in three steps: capturing the essence of light, utilizing the specific properties of the film negative, and manipulating the development process.

Stefan Sick has earned acclaim for his work on 16mm documentaries, including the beautifully shot and award-winning Closing Time, Nebel (Fog), and the European Film Awards-nominated The Landscape and the Fury, screening at MIRAGE. Sick’s films excel at capturing the immediacy of the moment, offering a tangible sense of presence, while the texture of the film negative breathes life into his work.

Cinematographer Pål Ulvik Rokseth (Armand, Handling the Undead) has fully embraced the analog format in feature films, even within large-budget productions and sizable crews. His work often evokes the magic of spontaneity, despite the controlled conditions of big film sets.

Moderating the discussion is Natasa Urban, the award-winning director of The Eclipse (also filmed on 16mm), known for her experimental approach to analog film, including developing film with everyday household chemicals.

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