Kirill: I would like to clarify my thesis: this film is one of the few possible films to watch in 2020, moreover for different generations. I believe that the direct statement «Nazism is bad, and life is good» does not work any longer, therefore, discussing problems of public history and representation of traumatic experience, we, together with you and Lydia Starodubtseva, have tried to identify modern languages of commemoration
(referring to a discussion "Commemorative Practices in the Digital World" and "Digital as Public" — note by Past / Future / Art). Two of our conversations dealt with attempts to go through this experience artificially, and today we're going to try to talk about the new language of artistic expression.