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Trude was my grand-mother. An admirable woman, a survivor from the camps, a terrible woman. The imperious will to survive. I wouldn’t film her, ever. I didn’t want to look back, I didn’t want to hear of death, I didn’t want survival. I wanted life. I wanted to be free. Until Trude’s unbending way of speaking started to bend. I then understood the time had come to come to her and look at her, freely. To film life and death, my own way, at the present.

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Trude was my grand-mother. An admirable woman, a survivor from the camps, a terrible woman. The imperious will to survive. I wouldn’t film her, ever. I didn’t want to look back, I didn’t want to hear of death, I didn’t want survival. I wanted life. I wanted to be free. Until Trude’s unbending way of speaking started to bend. I then understood the time had come to come to her and look at her, freely. To film life and death, my own way, at the present.

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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