Cytat:PARIS, TEXAS was shot in the fall of 1983 on an ARRIFLEX 35 BL III, on color negative film.

In 2014, on behalf of the French co-producer, Argos Films, the original negative was digitized in 4K, restored and color graded in 2K. All work was carried out at L’Immagine Ritrovata in Bologna and the Eclair Group in Paris, with the kind support of CNC. Because 2K was the state of the art of the projection technology installed in most cinemas, restoration, grading and mastering were carried out in 2K.

However, as extensive tests have shown that all the information contained in the 35mm material is only fully reproduced in 4K resolution, and as projection and broadcasting norms are evolving in this direction, Wim Wenders and the Wim Wenders Stiftung decided to elaborately restore and color grade PARIS, TEXAS in 4K to coincide with the film’s 40th anniversary in 2024. The 4K restoration work was made possible with the support of Chanel and the German Film Heritage Funding Program (FFE). It was carried out at Basis Berlin Postproduktion, using the 4K scans made at L’Immagine Ritrovata.

The Wim Wenders Stiftung has thus been able to catch up with state of the art norms and make the film available in 4K DCPs for theatrical screenings and UHD for home entertainment and streaming - including an HDR version - for today’s widespread display technology.

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Cytat: Limited Edition Special Features include:

- One 4K UHD disc with the new 4K restoration of the film presented in Dolby Vision (HDR10 compatible)
- One Blu-ray disc which includes the new 4K restoration, presented in HD, and special features
- New introduction to the film by Wim Wenders
- New interview with Wim Wenders, discussing the 4K restoration and the film's 40th anniversary
- Audio commentary with Wim Wenders
- Super-8 footage shot for the film
- Paris, Texas in Cannes featurette from 1984
- Interview with Wim Wenders from 2022
- Deleted Scenes with audio commentary from Wim Wenders
- New and original trailers
- English SDH subtitles
- Posters
- Booklet featuring archival interviews with Wenders, Harry Dean Stanton, Natassja Kinski, and Dean Stockwell, as well as a new interview with Wenders, behind the scenes photos, and an essay by Kelly Powell
- Presented in a rigid slipcase containing the digipak, booklet and posters