In this film, there is hardly anybody smiling. The selfies are taken with serious faces. They remind me when we photographed each other on Robben Islands Mandela’s prison cell, but he went on to become president. Nobody in Sachsenhausen did, and the people visiting feel and show this in their facial expressions. They wipe imaginary tears. They frown. They are curious, they listen to the explanations of their guides.
Interesting idea but too long and in the end pointless. I would like such a film, if the filmmaker would come with a idea how he would make all this - tourists and such places - come together in a better way than this. And it is not only Auschwitz. Every place open for tourists loses its sacred meaning. And there are enough tourists who are deeply moved by such places. I dont like tourists but i am one of them !
A deceptively complex formal essay on past vs present, how we utilize and access collective memory and the modern day obsession with digital documentation over physical observation. The juxtaposition of human tour-herding vs extermination and the garishness of consumerism witnessed through branded clothing create a mesmerising unease. At the end of the day these tourists get to leave. 4 stars Great stuff!
Lisboa, in these tourist times, it's also an area devastated by a pathetic voyeuristic irruption, being a space in its history of many horrors and misfortunes. In the case of the Holocaust, the images that in their spaces are currently captured should be restrained by a special ethics? The film by refusing a dialectic on the images points out a finger and loses dimension. But points out right,, formally speaking.