During the summer holidays of 1994, an act of sexual violence took place in the Austrian alps. Nineteen years later, Philip Treschan confronts his mother with his trauma in a documentary essay. The family album is a nostalgic illusion, a gateway to an unspoken reality and a tool for an intimate conversation with the past and for piecing together the fragments of memory into a comprehensible whole.
“Memory is not an unchanging vessel for carrying the past into the present; memory is a process, not a thing, and it works differently at different points in time.”
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