Andrzej Munk’s Passenger (1963) would have been an important film if he had managed to finish it before his untimely death: it viciously deconstructs the “Good Nazi” myth through one woman’s Rashomon-esque memories of her time as an Auschwitz guard and her bizarre, sadistic relationship with one of the inmates under her charge. At first she remembers herself as “one of the good ones,” showing comparative mercy to her prisoners as they awaited their inevitable deaths. But as the film goes on and her remembrances redouble over each other, her true portrait as a cruel taskmaster who used the emotions of her prisoners as toys becomes apparent. But the incompleteness of the film, its documentary voice-over, use of production stills for gaps in the story, and its refusal to extrapolate the missing ending transforms the film into a self-reflexive meditation on the very art of memory.
9/10
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