
1944: Should We Bomb Auschwitz?
2019

Representation Score
Fair
2006
Not RatedDirector
Davide Ferrario
Runtime
91 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Davide Ferrario’s documentary is a meditative study of historical trauma that uses a traveling narrative to examine geopolitical shifts in Eastern Europe. It succeeds by treating the geography of the post-war landscape as a witness to systemic oppression. The film excels in its nuanced examination of ethnic identity and the Jewish diaspora. By moving through diverse territories like Belarus and Romania, it avoids a homogenized view of history, offering instead a sophisticated critique of state power and institutional morality. However, the film is limited by its narrow focus on male intellectualism. The absence of women's ability to drive the story and queer narratives results in a lower score for gender and LGBTQ+ representation, keeping the overall score from reaching a higher tier.
Category Breakdown
The film focuses on the historical and biographical realities of Primo Levi’s life. There is no clear focus on queer narratives or non-assuming gender matches what was assigned at birth identities.
The narrative centers on the male intellectual experience through Levi and Mario Rigoni Stern. It lacks a significant presence of women's ability to drive the story or the subversion of patriarchal structures.
The documentary highlights complex ethnic landscapes by retracing Levi’s steps through Poland, Ukraine, and Romania. It presents a nuanced view of how ethnicity intersects with state power.
The film critiques the failures of Western institutions and various political systems. It frames the struggle for survival as a complex ethical landscape rather than a simple binary.
The film provides a harrowing look at the psychological and physical trauma resulting from state violence. It treats survivors' experiences with dignity rather than mere spectacle.
Present on Screen
Limited or Absent
Official Synopsis
In February, 1945, Primo Levi (1919-1987) and other Auschwitz survivors set off for home. The journey took more then eight months. Sixty years later, a film crew retraces Levi's steps. Levi's words, mainly from "The Truce" (1963), tell us what he experienced. In turn, we see Poland's hollow post-war factories, nationalism in the Ukraine, Soviet-style Communism in Belarus, the abandoned town of Prypiat (Chernobyl), poverty and emigration from Moldavia, Italian factories in Romania, and on across Hungary and Slovakia to Munich where Levi's rage found no listeners. Then home to Turin. An aged Mario Rigoni Stern remembers his friend. What has changed? Some issues of the war remain unsettled.

2019

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1967
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