The trichrome monopack will bare the additive systems in use in the early thirties. The 1935 subtract system invertible with copulant generator is a Kodak patent. A complex development system that can restore never-before-seen brilliance and definition. On the film of the Cinémathèque des Pays de Savoie et de l’Aine, set by industrialist John Kinsmen in 1937, a dominated rosa-magenta attenuates the colours of Venice. In the film of the Österreichisches Filmmuseum the colours of March 10, 1938 are much more present: the Nazi symbols decorate Vienna for the Anschluss of a red never before told by the 16mm cinema, a nefarious omen of blood and destruction for years to come. In 1948 in Trapani an Italian-American films the blue of the sky and the blue of the water in a landscape of salt woods. In 1936 the Agfacolour Neu will appear. Among the three selected examples (from 1940 to 1945), the Filmarchiv Austria offers a surprising ‘wide’ format film (typical of Siemens 16mm cameras), with the colours also present between the perforations. In the film Buddhas Liebesteier, from the Österreichisches Filmmuseum, the subject film amazes with pace and modernity of approach. A family film from the Home Movies Archive against the backdrop of Vesuvius finally shows us the empathy of the look in the room.

Mirco Santi