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100A profoundly unnerving historical document.
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100It's the only film that exists of the Ghetto, and it's both revelatory and profoundly suspect.
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100Hersonski quietly and insistently unravels reality from "reality"; her commitment to archival authenticity is its own tribute to those no longer able to testify.
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90To say that the film is uncomfortable to watch is an understatement. It's searing. Yet it's also invaluable.
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90The imperatives of history are manifold, and this film is among the most urgent of them. You cannot look, and you must look: This happened. They were human beings. All of them.
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90The first Holocaust movie that's actually about another Holocaust movie, and in some peculiar way it brings us closer to the terror and tragedy of the original event.
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90It becomes a meditation on the dual nature of film, on a "reality" at once true and false, essential and tainted.
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90The artificial look of the added footage, counterpointed by the commentary of inmates and survivors, only underscores the unending shock of the film's unadulterated images, even though we have seen them in other Shoah documentaries.
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90Remarkable as much for its speculative restraint as for its philosophical reach.
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90It stands as a unique film-within-a-film, of significance for the historical value of the raw images, the memories they spur and internal evidence of how the Nazis staged scenes long assumed to be real.
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89Amid the increasingly horrific images of daily ghetto life are moments of utterly unexpected, haunting beauty, including a reel of color film that does more to humanize an inhuman situation than anything I've ever seen.
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88Extremely unsettling and thought- provoking.
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83If it can seem like there's no end of films about the Holocaust, it might be because there is no bottom to the well of crime, inhumanity and evil described by that ghastly event.