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As filmmaker Peter Thompson puts it, this 1987 diptych deals with three main themes: “the emotional thawing of men by women, the struggle to disengage remembrance from historical anonymity, and nonrecoverable loss.” In the first film, Thompson describes his involved research about medical experiments in deep cold conducted on a Polish prisoner and a German prostitute by Dr. Sigmund Rascher at Dachau in 1942; photographs culled from seven archives in six countries, as well as a subjective dream set in the Universal Hotel, form the main materials. In the second film, the filmmaker's offscreen meetings with a Libyan Jew and former inmate of Dachau who works as a smuggler in Guatemala yield a complex personal travelogue that leads us not only to the Universal Hotel (a real place, as it turns out), but also to the public square in Siena that appears at the beginning of the first film. These are all films that have grown out of years of reflection, and Thompson's background as a still photographer serves him well in his haunting and original historical meditations; these works reverberate powerfully with a sense of the passage of time and the mysterious coalescence of disparate strands in a varied life.

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