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This article analyses the keys in the movie Le Concert (2009), from the point of view of the relationship between History and cinema, inspired by Marc Ferro, Robert Rosenstone and José María Caparrós Lera, among others. In other words, the treatment of movies as yet another historical document, with its own language and which, also, shapes itself as a historical agent. Le Concert shows us from a humoristic portrait, the realities and fictions of pot-communist Russia, its new idiosyncrasies, its debt to the past and the many social and emotional conflicts left unsolved after its shut down. The film does not intend, by any means, to be an exact X-ray of Russian society, but a rather eloquent metaphor of the tough social portrait (misery, wounds and mafias) and inheritance left behind by the Soviet totalitarianism. [ABSTRACT FROM AUTHOR]

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Second World War is, undoubtedly, the most traumatic event of the 20th century. And within the War, the most unique and heart-breaking was the Shoah, the extermination of the Jews. The viewpoints that have been offered on this fact, be it from documentary cinema or fiction cinema, passing through uncountable cinema genres and styles, have been very diverse. This article addresses specifically the keys of the film Edges of the Lord by Yurek Bogayevicz, which offers a revealing and metaphorical account of the experiences of several children in occupied Poland and, therefore, of that brutal and inhuman world which arose under the wing of the extermination camps. Bogayevicz summarizes the depravity of the Nazi regime and the piercing effect it had to innocent youth. [ABSTRACT FROM AUTHOR]