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NR 1h 16m

Luna

I have searched for the traces and memories of my relatives in the places where they were after being repressed by Franco’s regime. I found myself on the borders, in the fields and in prisons with their history [and mine] suspended between the cracks, like ancient paintings that emerge after burning a church. Within the archive, the family and the audience, the images are once again looked at and the documents read. All of this has built an intergenerational bridge that unites me with my grandmother and her mother.

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I have searched for the traces and memories of my relatives in the places where they were after being repressed by Franco’s regime. I found myself on the borders, in the fields and in prisons with their history [and mine] suspended between the cracks, like ancient paintings that emerge after burning a church. Within the archive, the family and the audience, the images are once again looked at and the documents read. All of this has built an intergenerational bridge that unites me with my grandmother and her mother.

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Night Will Fall

When Allied forces liberated the Nazi concentration camps in 1944-45, their terrible discoveries were recorded by army and newsreel cameramen, revealing for the first time the full horror of what had happened. Making use of British, Soviet and American footage, the Ministry of Information’s Sidney Bernstein (later founder of Granada Television) aimed to create a documentary that would provide lasting, undeniable evidence of the Nazis’ unspeakable crimes. He commissioned a wealth of British talent, including editor Stewart McAllister, writer and future cabinet minister Richard Crossman – and, as treatment advisor, his friend Alfred Hitchcock. Yet, despite initial support from the British and US Governments, the film was shelved, and only now, 70 years on, has it been restored and completed by Imperial War Museums under its original title "German Concentration Camps Factual Survey".

Night Will Fall

7.6 2014