Chow Yun-fat’s bullet ballet is reloaded and ready to fire again on the Croisette.

As John Woo‘s landmark 1992 action spectacle “Hard Boiled” prepares for its spotlight screening at this year’s Cannes Classics, Variety has uncovered the blood, sweat and digital wizardry behind saving the bullet-riddled masterpiece from cinematic extinction.

The Chow Yun-fat starrer, which had long been unavailable due to rights issues, comes to the Croisette with new revelations about the technical challenges faced during its meticulous preservation.

In the film, a hard-boiled cop (Chow) who loses his partner in a shoot-out with gun smugglers, goes on a mission to catch them. To get closer to the ringleaders, he joins forces with an undercover cop (Tony Leung Chiu-wai) who’s working as a gangster hitman. Together, they use all means of excessive force to find them.

“‘Hard Boiled’ and all 156 films in the Golden Princess library have been largely unavailable outside of Asia because those rights have long been owned by Hong Kong property developer Kowloon Development Company,” explains Jordan Fields, senior VP acquisitions and originals at Shout! Studios, which spearheaded the restoration effort. “KDC was not focused on the film business after the demise of Golden Princess Film Production in 1995.”

Restoration specialists have detailed the extensive work required to bring this cornerstone of action cinema back to its intended glory. The original negative, sourced from the Hong Kong Film Archive and digitized by Interface Video Production in Hong Kong, presented significant challenges.

“It was in poor condition, showing significant signs of age and wear,” says Michael Coronado, film restoration specialist at Duplitech. “The most noticeable damage included frequent film tears throughout multiple reels. The iconic one-take hospital action sequence was notably marred by accumulated dust and deep vertical scratches that disrupted the visual clarity and intensity of the scene.

“The element exhibited noticeable frame shifts and occasional warping, due to shrinkage,” he adds.

The restoration team employed a sophisticated combination of Filmworkz Phoenix and Pixel Farm’s PF Clean technologies. The process began with Phoenix DVO Frame Lock to stabilize the image before addressing flicker and warping issues.

Among the most illuminating revelations is the extent of manual intervention required. “One of the challenges in restoring ‘Hard Boiled’ was the film’s intense action sequences characterized by explosions, gunfire and rapid motion, which significantly limited automated dirt removal,” Coronado notes. “These scenes required careful, frame-by-frame manual restoration.”

A particularly challenging section emerged at the end of the fourth reel. “Our team encountered a significant tear that had split the image across the frame,” Coronado says. “To restore this section, our skilled restoration artists used clone-painting techniques by overlaying adjacent frames to repair the damaged footage.”

The color grading process presented its own set of challenges. “‘Hard Boiled’ contains over 2,900 shots throughout its 128-minute runtime, including many optical shots that had to be corrected with dynamic keyframes, says supervising colorist Blake David-Blasingame of Duplitech. “The negative was very inconsistent and had to be re-timed scene by scene, sometimes shot by shot, to maintain consistency.”

The restoration culminated in a Dolby Vision HDR master, with all versions, including the P3 Digital Cinema version that will screen at Cannes, derived from this source.

Henry Weintraub, restoration supervisor at Shout! Studios, describes the emotional investment in the project. “Restoring the film was both a challenge and a labor of love,” he says. “‘Hard Boiled’ means a lot to so many people, myself included, and I wanted to be sure we did it justice. It was important to preserve the original look and sound design of the era, while also enhancing both to bring out their full potential.”

Director John Woo has already given his stamp of approval. “He said he was very happy with the restoration — which was incredibly rewarding to hear, especially given how personal the film is to him,” Weintraub confirms.