This thesis investigates the position of analog film in the digital environment, critically looking at generally accepted theses about the digitization of the audiovisual industry as technological progress. By applying theories that look at the concept of obsolescence as a cultural and ideological construct, we want to revise the precarious position of analog film today, which was discarded as an old medium in the short-term and economically motivated process of digitalization of cinema. In an effort to keep analog film practices alive, artists mostly from the field of experimental film began to establish independent film laboratories modeled on the film cooperatives of the 1960s and 1970s, a kind of inclusive spaces based on a do-it-yourself, community and recycling approach. Thanks to the activism of the members, since the 2010s the laboratories have witnessed an increase in the interest of artists and the public, which is reflected in the launch of new analog film festivals, special laboratory programs at renowned festivals, and the publication of professional studies. The typology and representative examples of films from the laboratory are analyzed with the help of film academic Kim Knowles’ new materialist film theory, which revises Peter Gidal’s 1976 theory of structural/materialist film by focusing on the artist's tactile and bodily approach to film material. The new materialist film deals with the questioning of corporeality, the relationship between man, nature, and technology, and is characterized by ecological awareness and an alternative aesthetic that affirms error and imperfection. The theory can also be applied to digital and hybrid experimental works that deconstruct the film image and open up space for completely new visions that combine the possibilities of analog and digital media.