Summary

The place of memories and the struggle against oblivion can take many forms, something that is transversal to these two films and the work of Daniel Blaufuks. In Judenrein, meaning free of Jews, the director examines amateur footage of the 1980s in a small Polish village, rescued to find answers about his story, in a biographical reflection. In Levantados do Chão, a philharmonic band traverses an abandoned hotel in the Azores, and the emptiness left by the ruins thus refers to a past that is still present and prevalent.