Although proclamations about the imminent disappearance of photochemical film were frequent during the early years of technological transition, a sustained wave of interest in 16mm production has, for the moment at least, guaranteed the medium a second life on the margins of mainstream film production. It now flourishes in the field of experimental and artists’ film, offering a playground for exploration and innovation facilitated by the increased availability of outmoded equipment and a culture of DIY chemistry and skills sharing. From within this context of artistic autonomy emerges a new aesthetic of materialism that both draws and expands on its historical roots. The article explores some key developments in the field, emphasising the importance of process in creating a new ‘aesthetic of contact’.