No one doubts that The black hole in European history is the Auschwitz gas chamber: Thousands of people overcrowded in the most complete darkness, climbing each other in search of the last drop of air.
It is not so much the number, that also, but the form and place, on the periphery of the third Reich, but thought from the heart of Europe, the continent supposedly more ‘civilized’.
In front of the supporters of the non -representation of the holocaust, as Claude Lanzmann, who excluded the visual archives of his monumental Shoah (1985), those who cry for the power of images, such as Georges Didi-Huberman.
The French historian wrote Images despite everything: visual memory of the holocaust From the three clandestine photos taken by a Sonderkommando, that They portray the way to the gas chamber and the subsequent burning of corpses outdoors, When the crematoriums, during the summer of 44, no longer supplied.
The dispute starts with The famous Traveling of Kapò (1960), reason for a incendiary criticism that Jacques Rivette qualification Of abjection, almost less for the Nazis than for Gillo Pontecorvo, Director of this first fiction on the subject in Western Europe, where The camera follows a deportee that is thrown against the electrified fence To take his life, stopping in the certainly grotesque position of his inert body.
And yet, Rivette praises the totum revolutum of unidentified images that make up the macabre poetry of Night and fog (Alain Resnais, 1956). Decades were missing for Schindler’s list (Steven Spielberg, 1993), which swept the Oscar and the box office with their reassuring vision of the ‘Nazi good’ anecdotal, Savior of Jews with a talonario’s coup, such as capitalism that had just defeated the USSR.
The human issue (Nicolas Klotz, 2007), Where Mathieu Amalric He discovered that the language of multinational Victor Klemperer), It could be the opponent of Spielberg’s movie.
Klotz’s tape ended with completely black planes, such as those who open The area of interest (Jonathan Glazer, 2023), which reopened a debate that seemed closed from Saul’s son (2015), of László Nemes, The film that, against all forecast, He congracted the antagonistic parts: Lanzmann practically adopted Nemes with a bear hug, while Didi-Huberman dedicated an essay entitled Get out of darkness.
A darkness to the glazer invited us to enter again, when in view it is that It is more necessary than ever.
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