Drawing on cultural policy queer and feminist theory materialist media studies and postcolonial historiography Bliss Cua Lim analyzes the crisisridden history of Philippine film archivinga history of lost films limited access and collapsed archives. Rather than denigrate underfunded Philippine audiovisual archives in contrast to institutions in the global North The Archival Afterlives of Philippine Cinema shows how archival practices of making do can inspire alternative theoretical and historical approaches to cinema. Lim examines formal state and corporate archives analyzing restorations of the last nitrate film and a starstudded lesbian classic as well as archiving under the Marcos dictatorship. She also foregrounds informal archival efforts a cinephilic video store specializing in vintage Tagalog classics a microcuratorial initiative for experimental films and guerilla screenings for rural Visayan audiences. Throughout Lim centers the improvisational creativity of audiovisual archivists collectors advocates and amateurs who embrace imperfect access in the face of inhospitable conditions.