A debut is often an epiphany, an illumination, which takes the author years to be ready for. Debuts are sometimes pretentious, naively young, intellectually imperfect but sometimes in its youthful, unrestrained-by-convention narration, they mark out new trajectory of perception. And it is so with a film of eminent Czech director Jan Němec (Diamonds of the Night, 1963).
A story of two boys who escaped the transport of the Holocaust is a tale about memory. Memory understood not only as a reflection on experience, but also memory in atavist, biological perspective of escapees, hunted animal, constantly running from the unavoidable. Němec uses not only a metaphor but also empirical identification with the escapees. *Camera — direct*, exceptionally rough, new-wave photography of the cinematographer gives new quality not present in previous films about the Holocaust.
The Diamonds of the Night is certainly a masterpiece and not only in terms of the Holocaust subject matter, but also cinema, unusually innovative craftsmanship. It is — in my opinion — the most important work on the Holocaust, in which the image is not only the illustration to the story, but becomes an unusually full metaphor, where what belongs to the past is erased by rush of seconds determined by the pace of the escapees. We would like to invite you to the screening of this unusual Czech masterpiece, which perhaps is the most important film about the Holocaust.