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  • The Family
  • The Guilt
  • The Waiting
  • KZ
  • Age of Anxiety
  • 21st Century

'Memory' is opposed to 'silence'; but for us human beings, both inexorably merge into oblivion, like water into water. As for us, others' memory cannot truly be spoken.

When the horror ceased, there was a silence from the victims; silence that translated their inability to tell (that unspeakable product of extremely painful experiences for which there exists no appropriate language).

Then, we all did the best that could be done.
Then came the 'testimonies' (an attempt to record and retrieve footprints of a moral disaster that in itself resists all representation). The buildings of the manslaughter -where the horror dwelt- were preserved; films were made; the story was repeated over and over again, so that the remembrance of memories would linger.

But films are nothing but language; and language cannot speak of other's experience. And so, these borrowed memories fade away, became little things compared to our real lives. And so they merged into oblivion, as our own lives shall, like water into water.


In this short film-documentary I wanted to get close to the impossibility of representing the horror. To do this I used a repetitive editing, trial and error testing, and I used two types of images: some of them in color, which give the impression that the camera moves to discover what happened in the past, and other in black and white, filmed by Allied troops when they liberated the camps, which acquire a testimonial function of complaint.

We have followed a progression, that even though it was not revealing anything due to its fragmentation, it was temporarily approaching to the central moment of the problem, and yet, this whole series of metonymies very close to the true horror, have had no choice but to give in to the unimaginable, the ineffable or, in our analysis, the unrepresentable metaphorically speaking.