A film, a runtime, a source
Find a film’s running time among 315 source-linked records. Check which version or presentation the number describes, then follow its source. For 28 films with different recorded lengths, compare the listings before choosing a copy.
Look up a film, or combine its name with a duration or source: try “Cimarron 124” or “Cimarron AFI”.
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Identified version means the verified Film record names a release, re-edit, restoration, or other specific version. Source presentation record means a source documents a listing or presentation, but the evidence does not establish a distinct cut.
“Evidence checked” dates the source review. It does not confirm that a stream is available or that its playback has been timed.
Criterion records its 4K restoration at 96 minutes.
70 minutes is attached only to the named AFI 70-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
138 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
The LOC National Film Registry description identifies this film as 14 minutes. No restoration, score, frame rate, or exact source element is inferred.
101 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
86 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI Player identifies this specific presentation as 11 minutes, French, 1902, with no dialogue and English subtitles. It is not a universal runtime for every monochrome, tinted, or hand-coloured circulation copy.
111 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
80 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. Historical screenings and editions vary substantially in speed and length; 80 minutes applies only to the named MoMA English-intertitle screening.
112 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its black-and-white, English-language United States presentation as 138 minutes.
152 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. Sound, silent and reissue forms circulate; 152 minutes is attached only to the named AFI full-length record.
110 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
FINA records this presentation at 102 minutes.
Criterion records its restored edition at 103 minutes.
BFI records this presentation at 104 minutes.
89 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI identifies this presentation as 73 minutes. Other institutional releases list different timings; those are not collapsed into this Version.
Criterion identifies this French, black-and-white presentation as 93 minutes.
139 minutes is attached only to the named BFI 139-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion records its 4K restoration at 89 minutes.
BFI records a 96-minute presentation, kept distinct from Criterion’s 89-minute restoration.
59 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
118 minutes is attached only to the named Mr Bongo restored presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
85 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. The named edition also contains a 76-minute silent version; 85 minutes applies only to its sound version.
93 minutes is attached only to the named BFI edition 93-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion and BFI both record a 90-minute 4K restoration presentation.
86 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
75 minutes is attached only to the named AFI 75-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
180 minutes is attached only to the named Cannes restored presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
76 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
110 minutes refers to the 35mm Library of Congress restoration shown at the Dryden Theatre on 16 May 2023, with live piano by Philip C. Carli. That accompaniment is a screening detail, not a soundtrack attached to every copy.
BFI records a 102-minute presentation.
AFI records a 103-minute running time and the 26 November 1942 New York opening.
73 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
105 minutes is attached only to the named BFI National Archive restoration presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
119 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies the Pathé restoration presented in its edition as 190 minutes.
The Irish Film Institute listed its 8 June 2016 digital screening at 115 minutes. The record does not name a particular restoration or edit, and gives no duration in seconds.
124 minutes is attached only to the named AFI 124-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
7 minutes is attached only to the named AFI 7-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Current Criterion presentation with the original monaural soundtrack.
AFI records a 10,734-foot final version after a longer 11,041-foot complete print was shortened before release.
The listed runtime applies to this restoration; other presentations may differ.
1931 · original release
87 minutes
1931 United Artists US release / AFI catalogue timing
Silent feature with synchronized score and effects.
Criterion identifies its French presentation as 89 minutes.
93 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
86 minutes is attached only to the named AFI 86-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
97 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion lists its director-approved 4K restoration at 121 minutes. The listing gives whole minutes, not a measured duration in seconds.
88 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its restored black-and-white United States presentation as 69 minutes.
117 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
BBFC records Universal Pictures Int (UK)’s cinema presentation classified on 10 May 2018 at 107:31. The selected Criterion restoration remains a separate 108-minute listing.
105 minutes is attached only to the named BFI National Archive restoration presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI records an approximate 91-minute duration; it remains a separate catalogue record rather than being merged with the BBFC-classified presentation.
BBFC records the classified 2019 presentation at 94 minutes 48 seconds, rounded to 95 minutes for catalogue display.
103 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
BFI currently identifies Duck Soup as a 70-minute black-and-white United States film.
90 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
70 minutes is attached only to the named BFI 70-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
22 minutes is attached only to the named BFI 22-minute programme presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
106 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
124 minutes is attached only to the named Criterion Channel 124-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
77 minutes is attached only to the named BFI 77-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The MoMA and SFSFF restoration runs 147 minutes at 22 fps. BFI also lists 77 minutes without identifying the presentation in detail. Keep these records separate, and check the edition before planning a screening. The 147-minute reconstruction is not asserted to be a complete original cut. Current availability has not been checked.
Criterion lists this Blu-ray presentation at 86 minutes, from a director-approved high-definition master. The catalogue does not give an exact duration in seconds.
AFI records a 70-minute original release. The Version label preserves that catalogue context rather than asserting a current transfer length.
62 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
110 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
70 minutes is attached only to the named AFI 70-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
This 1956 U.S. re-edit is a separate 81-minute presentation, not the 1954 Japanese original.
1954 · original release
96 min 09 sec
1954 Japanese original — BFI 2005 UK cinema presentation
BBFC records the BFI UK cinema presentation classified on 21 June 2005 at 96:09. This timing is distinct from its 92:07 home-video record and the separately listed 1956 US re-edit.
Japanese original mono; Toho rounded runtime.
115 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
118 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
140 minutes is attached only to the named Library of Congress release account. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its Japanese, black-and-white presentation as 133 minutes.
105 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. Criterion identifies Denmark while the retained Work record identifies Sweden; the country discrepancy is disclosed and no country claim is borrowed from the Version source.
Current Criterion presentation; the NFAJ 35mm collection record also reports 143 minutes.
BFI identifies High Noon as an 85-minute black-and-white United States film.
90 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
Criterion identifies its restored black-and-white United States presentation as 92 minutes.
85 minutes is attached only to the named AFI 85-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
69 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
90 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
NFAJ also catalogues the feature at 143 minutes.
93 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
210 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its black-and-white United States presentation as 105 minutes.
BFI records this presentation at 129 minutes; AFI includes 129 among its documented duration figures.
Criterion lists its high-definition digital restoration at 95 minutes, with an uncompressed monaural soundtrack. This edition is the primary reader-facing Version, not a universal Work runtime.
Mosfilm identifies its 2017 restoration at 96 minutes. The one-minute difference from Criterion's listing is retained as edition metadata rather than treated as evidence of a different Work.
105 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
106 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
IFC Center lists its August–September 2019 screening at 100 minutes. The listing does not identify a restoration, cut or source print.
94 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
Criterion identifies its restored French presentation as 89 minutes. The altered distributor release remains a distinct historical Version without an inferred runtime.
143 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
Criterion identifies its Italian, black-and-white presentation as 174 minutes.
113 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
The archive record lists 00:06:00 at 18 fps. Four surviving tableaux are supplemented with explanatory titles for three missing scenes. Black-and-white footage includes conjectural colour reconstruction in the titles and final tableau; this is not a complete surviving 1905 print.
108 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
ASAC lists 94 minutes, 35mm and black and white. Its page records both 1961 competition and 2018 restored screenings; it does not tie the 94-minute technical entry unambiguously to either event. No restoration, projection speed or exact seconds are inferred.
Criterion lists the restoration at 108 minutes; Shochiku also lists the film at 108 minutes.
88 minutes is attached only to the named BFI 88-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
87 minutes is attached only to the named BFI 87-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Google Play lists 96 minutes. The listing does not identify a restoration or source master, and playback was not tested. AFI separately records a 96–98-minute range; that historical range is not treated as this digital asset’s measured duration. Eureka’s discontinued disc separately lists 98 minutes; its master and subtitles are not attributed to this digital listing.
120 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
80 minutes is attached only to the named UNESCO original-negative record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
68 minutes is attached only to the named AFI 68-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
88 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. The BFI record lists 89 minutes and historical records list longer variants; 88 minutes applies only to the named Kino Lorber presentation.
82 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
85 minutes is attached only to the named AFI 85-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its restored German-language, black-and-white presentation as 110 minutes. Its separate English-language Version is not assigned this runtime.
92 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
67 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred. BFI lists 67 minutes and notes that circulation and projection-speed differences alter rhythm; the selected value is not promoted to a universal Work runtime.
102 minutes is attached only to the named Cannes catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
98 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The Murnau Foundation DCP catalogue gives the exact duration as 149:36. Kino Lorber lists 148 minutes and Eureka 150 minutes for releases of this same reconstruction; those rounded listings are not evidence of different cuts.
The Murnau Foundation's current film record gives 4,174 metres and 153 minutes. This is a historical estimate, not the runtime of a complete surviving print or a modern presentation.
111 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
77 minutes follows the BFI catalogue record. Cut, projection speed and accompaniment are not identified there. This is not the later Moana with Sound presentation.
66 minutes is attached only to the named AFI 66-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
AFI records the US release at 87 minutes, with synchronised sound effects, music, and singing.
Criterion's 87-minute edition uses a restored 2K digital transfer created with the Cineteca di Bologna.
107 minutes is attached only to the named AFI 107-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
90 minutes is attached only to the named AFI 90-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
87 minutes is attached only to the named Criterion restoration of the 1978 Tati rerelease. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
79 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
331 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
95 minutes is attached only to the named Criterion US presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies a complete 101-minute British version alongside the 95-minute US presentation.
1968 · restoration
96 minutes
MoMA / Film Foundation 4K restoration (Criterion)
Criterion lists the MoMA / Film Foundation restoration at 96 minutes. This duration describes the restored feature, not the separately included Night of Anubis work print. The listing gives whole minutes, not a measured duration in seconds.
filmportal documents a 1,742-metre, 64-minute examined version; it is not treated as the original runtime.
Filmportal identifies this as a synchronized sound-film reworking with changed character names, newly shot scenes, material discarded by Murnau, and recorded music. It is not a restoration of the 1922 release.
The Foundation's February 2025 DCP catalogue gives the exact duration as 95:04 and identifies tinting, German intertitles, optional English and French subtitles, and Hans Erdmann's music reconstructed by Berndt Heller. Eureka's 97-minute and Kino's 94-minute listings are not treated as separate cuts on runtime alone.
Criterion lists this 4K restoration at 101 minutes, with a monaural soundtrack. The listing gives whole minutes, not a measured duration in seconds.
64 minutes is attached only to the named BFI 64-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
74 minutes is attached only to the named BFI edition 74-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
AFI gives a 107–108-minute range; 108 minutes is shown here as the rounded value.
19 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. The Kino product copy misdates the short to 1921; Work year 1920 remains supported by the existing identity sources, while 19 minutes belongs only to the named product presentation.
DFI records the Danish theatrical release at 120 minutes.
BFI records a 126-minute presentation. It is retained separately rather than treated as the same duration record.
139 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
97 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
132 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
Criterion's high-definition transfer was made from 35 mm elements restored by the UCLA Film & Television Archive in cooperation with MGM Studios.
BFI records an 81-minute presentation.
Criterion records its edition at 83 minutes.
The Ingmar Bergman Foundation records an original length of 85 minutes and the Stockholm premiere at that duration.
80 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
74 minutes is attached only to the named AFI 74-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
31 minutes is the listed presentation, not a new measurement. Italian intertitles with Danish subtitles. Playback, regional availability, score and completeness were not independently established.
The January 2024 programme lists a digital 4K presentation at 109 minutes. It gives no duration in seconds. Other catalogue timings do not, by themselves, establish a different edit. The linked programme notes reveal the ending.
139 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
78 minutes is attached only to the named AFI 78-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion presentation restored by the Academy Film Archive, the National Film Center of the National Museum of Modern Art, Tokyo, and Kadokawa Pictures.
78 minutes is attached only to the named AFI 78-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
60 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
Criterion's current edition uses a new 2K digital restoration with uncompressed monaural soundtrack.
BFI lists the UHD feature at 177 minutes; it remains separate from the 179-minute theatrical and Player presentation.
179 minutes is attached only to the named BFI theatrical and Player presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
103 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
94 minutes is attached only to the named AFI 94-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
124 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
The 439-minute figure is Arbelos’s published runtime for its 4K restoration. It is not a measured playback duration or a universal runtime for every copy.
89 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
101 minutes is attached only to the named AFI 101-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
95 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred. AFI lists 90, 95, or 99 minutes for historical variants. The selected 95-minute value belongs only to the reviewed BFI presentation.
The National Film Archive of Japan lists a 35 mm black-and-white holding at 18,564.01 feet and 206 minutes. Its October 2020 programme also lists a 206-minute 35 mm screening with an interval; these records do not identify whether the same physical print was used.
Criterion lists its 4K digital restoration at 207 minutes, with Japanese audio and the original monaural soundtrack. Other presentations may differ in length.
115 minutes is attached only to the named AFI 115-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
108 minutes is attached only to the named BFI 108-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
82 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
BFI identifies Sherlock Jr. as a 45-minute United States film. Silent-film projection speed and accompaniment can affect other presentation timings.
38 minutes is attached only to the named AFI 38-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
67 minutes is attached only to the named AFI 67-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
AFI records a 120-minute running time and March 1959 release.
BFI records a 121-minute 35mm National Archive print.
150 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
93 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
Criterion identifies its restored black-and-white United States presentation as 96 minutes.
70 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
122 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
BFI Player lists 79 minutes and describes a 2K remaster from a 4K scan of a 35 mm fine-grain duplicating positive. This is the provider-listed presentation; its exact playback asset and actual played duration were not checked.
90 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI Player identifies this Czech archive Version as 75 minutes and explicitly notes that it is around twenty minutes shorter than the traditional English-language Version.
BFI records the film at 110 minutes. This is the primary viewing runtime used by Monocurator.
96 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
81 minutes is attached only to the named AFI 81-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
105 minutes is attached only to the named AFI 105-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
86 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies its French, black-and-white presentation as 99 minutes.
1960 · restoration
125 min 47 sec
Park Circus/MGM 4K restoration — 2025 UK cinema release
AFI Silver lists the restoration at a nominal 125 minutes. The selected 2025 Park Circus UK cinema submission is timed by the BBFC at 125 minutes 47 seconds; allow 126 minutes for a strict time limit. Other releases have different timings.
BBFC lists the 2D cinema presentation classified on 20 October 2011 at 100 minutes 23 seconds. The catalogue rounds this to 100 minutes; strict time limits use the full duration. Other submissions are separate.
112 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
91 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion lists this presentation at 121 minutes, in French and Arabic, with English subtitles. The runtime is the distributor’s listing, not a measured playback duration or a claim about every release.
172 minutes is attached only to the named AFI catalogue release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
89 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
130 minutes is attached only to the named BFI 130-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
114 minutes is attached only to the named BFI 114-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
125 minutes is attached only to the named AFI 125-minute 35mm release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
85 minutes is attached only to the named BFI 85-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
108 minutes is attached only to the named filmportal.de German presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
97 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
103 minutes is attached only to the named filmportal.de catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
22 minutes is attached only to the named AFI 22-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The Murnau Foundation catalogue records a 1,505-metre element at 55 minutes. This catalogue presentation is retained separately and is not treated as the runtime of the 2014 restoration.
1920 · restoration
77 min 09 sec
Murnau Foundation 4K restoration DCP screening
The Murnau Foundation's current DCP distribution record lists its tinted 2014 restoration at 77:09, with German intertitles and English, French, and Portuguese subtitles. The Foundation's July 2024 programme rounds the same restored DCP to 77 minutes.
69 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
86 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
85 minutes is attached only to the named AFI 85-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
22 minutes is attached only to the named AFI 22-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
127 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
A historical 3 May 2015 screening record, listed by SFFILM at 218 minutes with music by Marc-Olivier Dupin. This is separate from the 223-minute catalogue listing and does not establish a current screening, a measured playback duration or a newly identified cut.
96 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
98 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
90 minutes is attached only to the named AFI 90-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
75 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
70 minutes is attached only to the named AFI 70-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
100 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
107 minutes is attached only to the named BFI National Archive restoration presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
1926 · unknown
66 minutes
Library of Congress National Screening Room — 2016 Kino Lorber digital viewing copy
LOC resource ntscrm.00004770 reports 3,950 seconds (65:50); the catalogue rounds the digital file to 66 minutes. Black-and-white, with a score compiled from historic photoplay music by the Mont Alto Motion Picture Orchestra. The 2016 Kino Lorber transfer, score, performance, and recording remain separate from the underlying 1926 Work.
80 minutes is attached only to the named AFI 80-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
132 minutes is attached only to the named AFI 132-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The National Gallery of Art records a 78-minute DCP presentation.
BFI Player records a 79-minute presentation.
BFI’s film catalogue records a 90-minute presentation.
Chaplin removed the intertitles, added his narration and synchronized score, shortened and rearranged the picture, revised the letter subplot, and changed the ending.
Restored in 4K by Fondazione Cineteca di Bologna at L’Immagine Ritrovata under the aegis of Association Chaplin and Roy Export, with mk2 support. It follows the Brownlow–Gill reconstruction while using the results of a new international search for 1925 elements; it is not a third cut.
129 minutes is attached only to the named AFI catalogue release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
LOC reports 11:54 at 18 frames per second for its digital viewing copy; the display rounds that exact item to 12 minutes. LOC also notes that some surviving copies are incomplete, so no general completeness claim is made.
115 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
1953 · unknown
71 minutes
Library of Congress National Screening Room digital viewing copy
LOC resource ntscrm.00047382 reports 4,258 seconds (70:58); the catalogue rounds the digital file and 35 mm holdings to 71 minutes. Sound, black-and-white. LOC does not identify a named restoration or the exact source element used for this digital file.
113 minutes is attached only to the named AFI 113-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
22 minutes is the duration listed for IFFR 1998. The record does not specify a cut, restoration, projection speed or exact duration in seconds.
108 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
100 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
1915 · unknown
79 minutes
Library of Congress National Screening Room digital viewing copy
LOC resource ntscrm.00014575 reports 4,732 seconds (78:52). The catalogue describes the film as silent and black-and-white and says sources disagree on the original length, but it appears complete in six reels. LOC does not identify a named restoration or the exact source element used for this digital file.
Criterion identifies its 53-minute edition as a 4K restoration of Chaplin’s 1972 re-release with his score; deleted scenes and titles from the 1921 version are separate supplements.
The 25 October 2025 programme lists a 68-minute DCP with French intertitles. This is a source presentation record; its running time alone does not establish a complete original cut.
102 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
195 minutes is attached only to the named AFI 195-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
93 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
96 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
88 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
90 minutes is attached only to the named filmportal.de catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
78 minutes is attached only to the named BFI catalogue presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
62 minutes is attached only to the named AFI 62-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
91 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
AFI records 64 minutes and identifies sound and silent releases. This is a historical catalogue record, not a verified runtime or audio description for every surviving copy.
108 minutes is attached only to the named AFI 108-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
AFI and BFI independently record a 100-minute presentation.
110 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
100 minutes is attached only to the named BFI National Archive restoration presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
96 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
62 minutes is attached only to the named BFI 62-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI records this presentation at 92 minutes.
Criterion’s 93-minute edition uses restored 35 mm film elements prepared by the UCLA Film & Television Archive.
88 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion's primary presentation of the Gaumont 2K restoration. Silent-film running time changes with projection speed.
1921 · restoration
106 minutes
Criterion digital restoration with Swedish Film Institute archive collaboration
Criterion includes two score options, while the Swedish Film Institute lists live-music and recorded-score presentations. These are presentation choices, not evidence of separate story cuts.
83 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. AFI records 74- and 83-minute lengths; 83 minutes applies only to the named MoMA 35mm presentation.
108 minutes is attached only to the named BFI National Archive restoration presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The publisher lists this reconstruction at 55 minutes. Surviving footage is supplemented by photographs and text for missing sections; it is not a complete original cut. The AFI 84-minute original-release record remains separate. Current stock, shipping and streaming have not been checked.
84 minutes is attached only to the named AFI 84-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred. The 84-minute figure records the original release, not the surviving Edition Filmmuseum reconstruction.
90 minutes is attached only to the named Hungarian Film Archive presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion identifies the 1959 reconstruction and its current restored presentation as 106 minutes. This is not labelled as an untouched 1939 release print.
122 minutes is attached only to the named AFI 122-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
The 9 December 2018 programme lists an 11-minute DCP with English intertitles. It does not identify a restoration, projection speed or score; other copies may differ.
AFI records a 72-minute original release. The runtime remains attached to that catalogue Version.
The Ingmar Bergman Foundation records an original length of 96 minutes and the Swedish release on 16 February 1957.
Criterion records its 4K restoration at 97 minutes.
71 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
125 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
83 minutes is attached only to the named AFI 83-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
136 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
Criterion lists the German-language presentation at 121 minutes. The simultaneously filmed French-language version uses a different cast and is listed separately; this timing does not establish the French runtime or a measured playback duration.
154 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
AFI records the American presentation at 93 minutes and identifies it as a Selznick re-edit of the longer British version.
BFI records the British presentation at 104 minutes. AFI identifies it as approximately eleven minutes longer than the American re-edit.
110 minutes is attached only to the named Criterion German-language presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
67 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion lists this restored presentation at 152 minutes. BFI lists its restored original French theatrical presentation at 153 minutes; the one-minute difference is treated as measurement or catalogue rounding, not proof of a different cut.
1953 · restoration
153 minutes
BFI restored original French theatrical presentation
BFI lists 153 minutes alongside Criterion's 152-minute listing; the one-minute difference does not establish a separate cut.
144 minutes is attached to the Cannes 2009 competition presentation. The record does not identify an exact duration in seconds or establish that every later release is identical.
Three of six reels survive. NFPF lists this transfer at 42 minutes, copied at 18 frames per second from a tinted 35mm print preserved by AMPAS from NZFA source material. Music: Michael D. Mortilla and Nicole Garcia.
95 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
BFI currently identifies the film as 98 minutes and documents its monochrome/sepia-to-Technicolor design. A separate current BFI 4K screening lists 102 minutes and is not merged with this Version.
99 minutes is attached only to the named AFI 99-minute release record. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
Criterion lists this digital restoration at 137 minutes; other presentations may differ.
The shorter studio version. AFI and Eureka both identify a 95-minute theatrical presentation.
The longer preview version was recovered in the 1970s. Sources list 108 or 109 minutes; the 109-minute value follows Eureka's presentation.
Walter Murch re-edited the studio material around Welles's 1957 memo. It is not a director's cut; the 110-minute value follows Eureka's presentation.
Criterion’s 96-minute edition uses a 4K restoration by The Film Foundation and Kadokawa Corporation.
BFI records this presentation at 97 minutes.
88 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
16 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred.
81 minutes is attached only to the named Criterion presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
BFI independently records a 91-minute presentation.
Criterion’s 91-minute edition uses a new 4K digital restoration.
88 minutes is attached only to the named BFI 88-minute presentation. No unsupported cut, score, territory, frame rate, source element, or restoration detail is inferred.
92 minutes is attached only to this named source presentation; no restoration, score, territory, cut, frame rate, or source element is inferred. The Swedish Film Institute record previously consulted listed 91 minutes; the selected 92-minute value belongs only to the current Criterion presentation.
144 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred. The BFI programme names William A. Wellman while the retained Work record also carries Harry d’Abbadie d’Arrast from Wikidata; the Version source is not used to erase that source difference.
73 minutes is attached only to this named presentation. No edition, score, territory, cut, frame rate, source element, or restoration detail is inferred.
147 minutes is attached only to the named Criterion presentation. No edition, cut, score, territory, frame rate, source element, or restoration detail is inferred.
90 minutes is the AFI catalogue figure for the 1929 Saville film, not a measured surviving copy or a claim about current access.
Criterion lists the restored transfer at 110 minutes; JFDB also lists the film at 110 minutes.
Still choosing a film? The evidence index lists presentations, so one film can have several records. For a time-limited evening, browse the under-90-minute catalogue; for a smaller shortlist with mood and edition notes, compare the 15-film guide. “Under 90” excludes films listed at exactly 90 minutes. Check the named edition before relying on its length.
Already have a title or copy? Open its Film page from a result for the viewing guide and version map. If two sources give different lengths, compare the examples below before assuming you have a different cut. A runtime record is evidence about a presentation, not a promise of current streaming availability.
Before pressing play
Two reliable listings can show different runtimes without either being wrong. You may be looking at a shorter re-edit, a reconstruction with recovered footage, the same silent film projected at a different speed, or two catalogues that measure and round a presentation differently.
Look for words such as theatrical, preview, re-edit, reconstruction, or restoration.
A film may have been shortened, retitled, or reassembled for another market or later release.
For silent films, the same footage can take noticeably longer at a slower frame rate.
A catalogue, disc, screening, and streaming page may round or time a presentation differently.
Featured comparisons
These examples show why the cause matters more than the size of the difference. Follow any runtime to the record and source behind it.
1954 · 16-minute spread
81 / 96 / 97 minutes
No. The 81-minute record belongs to the 1956 American re-edit. The 96- and 97-minute Japanese listings, however, include a rounded product-page figure and should not automatically be counted as separate cuts.
1925 · 16-minute spread
72 / 88 minutes
Chaplin’s 72-minute 1942 re-edit replaced intertitles with his narration and changed the film. The 88-minute 2025 restoration returns to the silent-version lineage; it is a restoration, not a newly invented third cut.
1949 · 11-minute spread
93 / 104 minutes
Yes. The British presentation is listed at 104 minutes, while AFI identifies the 93-minute American release as a Selznick re-edit. Here the numbers point to an editorial difference documented by the sources.
1958 · 15-minute spread
95 / 109 / 110 minutes
None should be sold to you under that simple label. The records distinguish a 95-minute theatrical version, a longer preview version, and a 1998 reconstruction made from Welles’s memo after his death.
1927 · 3-minute spread
150 / 153 minutes
No. The 150-minute figure belongs to the 2010 restoration. The 153-minute figure is a historical estimate for the 1927 Berlin premiere version, not a complete print you can simply choose today.
1955 · 5-minute spread
121 / 125 / 126 minutes
Yes. BFI, BFI Player, and Criterion list 121, 126, and 125 minutes. The current evidence documents the listings, but it does not establish three narratively different edits.
1922 · 31-minute spread
64 / 70 / 95 minutes
The 1930 sound re-edit is genuinely different from the 1922 film. A 64-minute examined record and the 95-minute restoration need more care, while 94-, 95-, and 97-minute listings for the same restoration lineage may be measurement or edition differences.
Compare all 28
A difference of one minute may be rounding. A longer runtime may reflect projection speed. Use the labels and sources before drawing a conclusion.
No matching comparison. A film with one sourced runtime may still be in the full runtime index.
1958
102 / 103 / 104 min
1948
89 / 96 min
1942
102 / 103 min
1931
86 / 87 min
1964
91 / 95 min
1922
77 / 147 min
1954
81 / 96 / 97 min
1962
95 / 96 min
1927
150 / 153 min
1950
95 / 101 min
1922
64 / 70 / 95 min
1955
120 / 126 min
1955
121 / 125 / 126 min
1966
81 / 83 / 85 min
177 / 179 min
1954
206 / 207 min
1959
120 / 121 min
55 / 77 min
1926
78 / 79 / 90 min
1925
72 / 88 min
1921
53 / 68 min
92 / 93 min
1929
55 / 84 min
1957
96 / 97 min
1949
93 / 104 min
1953
152 / 153 min
1958
95 / 109 / 110 min
1953
96 / 97 min
What is included
The index uses Version-level records marked high-confidence and verified. Every published row resolves to at least one named source, citation, public URL, and checked date. Wikidata-only rows, unresolved legacy runtimes, low-confidence records, and review-pending candidates are excluded.
A longer runtime is not automatically more complete. A different number is not automatically a different edit.