en Cuevana 3. In El Adios Largos, artist-archivist Andrew Lampert undertakes a speculative, restoration of Robert Altman's The Long Goodbye based on the premise that the film's negative has been lost and the sole surviving print is incorrect in every way: 16mm rather than 35mm, black and white instead of Technicolor, and dubbed into Spanish. (N.B. proper prints and a negative do exist, just not in Lampert's possession!) With dubious methods used to achieve authenticity, El Adios Largos is at once an uncanny aesthetic experience and a playful exploration of the philosophical conundrums involved for those working to preserve film history for generations to come.