Codirectors Axer and Benze redefine Deutschland's darkest hour using nothing but the nation's own pop-cultural output of the time. Juxtaposing brightness and barbarism is nothing new, but it comes as a visceral gut-punch to see swastika flags unfurling in the garishly grainy color of home movies, or to hear jaunty Irving Berlin–style ditties detailing the "perfect" Aryan lifestyle. By the time the familiar monochromatic scenes of death camps appear near the end, you're reminded that those same smiling German faces sanctioned the atrocities, and the horror suddenly feels one misguided mob-step away.
Oliver Axer, Suzanne Benze
You may also like