There are two separate issues with Don QOja: I have no idea why she hasn't pursued ownership of the footage if she really believes she owns it, but it looks like a power struggle between her and Bonanni.
Who is there that would be trusted by Mr. Bonanni who could preserve the footage (or perhaps digitize it) so that it will hold up possibly for decades. A suitable facility could possibly preserve the footage for future generations to work out. The Leaky Garage won't make it.
Could you please clarify what Mr. Bonanni would require in order to transfer the location (NOT the control) of the films to a safer and more secure place.That's a possibility, but the only one that can do something is Bonanni, without considering the legal causes plauguing him. The problem is, Mauro is risking all alone. That's why i imagine the "foundation" is the only thing we can do, while the last choice is in Bonanni's hands and in no other. I don't imagine we'll see Oja Kodar saying "OK, you can keep it and do what you want with it". Plus, let's not forget what they did when Mauro was giving them the material in 1991. This man got a legal cause instead of some kind of medal, for saving this wonderful work, those 20.000 meters of poetry. Mauro, his love for Welles, and his passion for DQ will have the last word. With this symbolic "foundation" that I hope to do, we can collect signs worlwide, we can at least say that we desire to see this footage. I hope Mauro, with his dignity and the strongness he's shown all these years, will do what Henry David Thoreau called a act of "Civil Disobedience".
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