Bianca Stigter's fascinating semi-experimental Documentary literally takes three minutes of 16mm home movie footage and examines it in extraordinary detail. Save for one very very brief shot, we see nothing else but that film during the course of the suitably brief 69 minutes.
Taken on a European vacation in 1938 by David Kurtz the precious (and, at the time, expensive) footage has quick bits in Paris and Geneva, but the prime focus here is the film he shot in Nasielsk Poland. It was predominantly Jewish, and as fate would have it, be largely wiped out by the Nazis the very next year. In a way, THREE MINUTES is like a tragic ghost story - the viewer haunted by the notion that most of the faces we see would be gone so soon thereafter. Remarkably, through research and interviews, Stigter and her team were not only able to name some of the people we see, but even track down a survivor.
THREE MINUTES is a laudable effort in film examination. No footage so brief has probably been so thoroughly gone over since the Zapruder film. Stigter has done a remarkable job of not only exploring the celluloid for its historical value, but, also giving an afterlife of sorts to the men, women and children of Nasielsk.
Taken on a European vacation in 1938 by David Kurtz the precious (and, at the time, expensive) footage has quick bits in Paris and Geneva, but the prime focus here is the film he shot in Nasielsk Poland. It was predominantly Jewish, and as fate would have it, be largely wiped out by the Nazis the very next year. In a way, THREE MINUTES is like a tragic ghost story - the viewer haunted by the notion that most of the faces we see would be gone so soon thereafter. Remarkably, through research and interviews, Stigter and her team were not only able to name some of the people we see, but even track down a survivor.
THREE MINUTES is a laudable effort in film examination. No footage so brief has probably been so thoroughly gone over since the Zapruder film. Stigter has done a remarkable job of not only exploring the celluloid for its historical value, but, also giving an afterlife of sorts to the men, women and children of Nasielsk.