ABSTRACT
This chapter describes how films that are set during the Holocaust and were produced within the last decade frame their narratives of Polish-Jewish relations. It also describes Feliks Falk's Joanna, Roman Polanski's co-production based on the memoirs of Wladyslaw Szpilman, The Pianist, and the first Polish-Israeli co-production, based on the short stories of Ida Fink and directed by Israeli Uri Barbash, Spring 1941. The chapter responds to Gross's Neighbours, Zofia Lipecka's installation at the Zacheta Gallery in Warsaw 'Po Jedwabnym', and Rafal Betlejewski's public event 'Plonie Stodola' as well as his wider project entitled 'Tesknie Za Toba, Zydzie'. The story of Jedwabne, with its murder of Jews by their Polish neighbours, represents a 'counter-memory', to use Polonsky's and Michlic's term, to the narrative of Poles hiding Jews. Rafal Betlejewski's project largely addresses contemporary Poles while encouraging memories of pre-war Polish-Jewish communities.
