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Now deserted and visited in a bright, serene atmosphere, the German Nazi concentration camps gradually reveal the depth of the tragedy, also shown by some crude filmed documents. However, there is no intention of staging the horror but only of investigating the places where it took place, reminding us how dangerously easily it could be repeated in the history of humanity.
Jean Vigo Prize winner in 1956, this film was commissioned by the ‘Comité d’Histoire de la Seconde Guerre Mondiale’ and just before being presented at Cannes, it was stopped by the French government, partly because of pressure from the German government and partly because they sensed dangerous allusions to the French-German collaborationism during the Republic of Vichy.
Alain Resnais was born in Vannes in 1922. One of the principal French documentarists in the 1950’s, he was strongly criticised for the anti-colonialist messages conveyed through Les statues meurent aussi (1952) and Nuit et brouillard. He made his subject short-length film debut with ‘Hiroshima, mon amour’, which was deeply innovative on the level of film story-telling and the representation of psychological processes. He continued his career spending most of his effort in probing the depths of the human soul, making some of the milestones in the history of cinema such as L’année dernière a Marienbad (1961), Muriel, ou le temps d’un retourn (1962), Mon oncle d’Amérique (1979) and the latest Smoking, No smoking (1994).
Edizione 2005
Retrospettiva Verità della finzione. Alle radici del cinema diretto
DOCUMENTARY
France , 1955, 32'
REGIA/DIRECTOR
Alain Resnais
TAGS:
Human and civil rights, conflicts
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