Noite e nevoeiro. Portugal e o Holocausto: ciclo de cinema/ debate na cinemateca








(A Última Etapa), Wanda Jakubowska, 1947

O CEMITÉRIO DA EUROPA 45, Alexander Ford, 1945


Nuno Júdice (poeta e professor universitário)



(A Passageira), Andrzej Munk, 1961

Mário de Carvalho (escritor) e Rui Cardoso Martins (escritor)




, Daniel Blaufuks

Richard Zimler (escritor) e Daniel Blaufuks

(artista plástico, fará uma apresentação do filme)



(Noite e Nevoeiro), Alain Resnais, 1955

Eduardo Lourenço (filósofo, ensaísta) e Isabel Moreira (constitucionalista, deputada)




, Lang, Fritz, 1943

Teresa Pina (directora da Amnistia Internacional em Portugal)



, João Canijo

Daniel Oliveira (comentador), José Medeiros Ferreira (político e historiador) e João Canijo (realizador, fará uma apresentação do filme)




(Esta Terra é Minha), Jean Renoir, 1943

António Sampaio da Nóvoa (reitor da Universidade de Lisboa)




, Marcel Ophuls, 1988

Isabel Capeloa Gil (professora universitária)




, Claude Lanzmann, 1985

Bragança de Miranda (professor universitário)

COMISSÁRIA: Anabela Mota Ribeiro


7 thoughts on “Noite e nevoeiro. Portugal e o Holocausto: ciclo de cinema/ debate na cinemateca”

  1. A prova, já se vê, está no cinema e na tv:

    Entrementes, graças aos 6 milhões dos 6 campos de extermínio da besta cabalística nº 666, foi entregue o penúltimo dos 6 vectores do fim do mundo feito em 6 dias, e o 6º está a caminho:

    “Israel inaugurated its fifth nuclear-capable Dolphin-class submarine April 29 in Kiel, Germany, home of the shipbuilding division of Thyssen-Krupp Marine Systems (TKMS). (…) Like its predecessor and the sixth submarine now undergoing hull construction at the TKMS shipyard, INS Rahav features an air-independent propulsion (AIP) system that allows for extended mission range and endurance. (…) German fully funded construction costs for Israel’s first two Dolphins, shared half the cost of Israel’s third submarine, and has underwritten about a third of the costs for the fourth and fifth vessels now undergoing sea trials. Under a government-to-government contract signed last year for Israel’s sixth and final Dolphin-class sub, Berlin agreed to underwrite some €135 million (US $175.8 million) on an acquisition that sources here say will exceed €600 million.”

    “Rahav is scheduled to arrive in Israel this year, the Israeli army said in a statement. The Dolphin class submarine is considered to be one of the most advanced in the world and foreign media reports say Israel’s submarine fleet can carry nuclear warheads.”

    Felizmente a ONU continua atenta à ameaça dos arsenais nucleares clandestinos… dos negacionistas iranianos.

  2. Aliás, já em Março de 1943, antes da abundância de perús da era Spielberg, se sabia nos comícios nova-iorquinos que os nazis tinham prometido aos cristãos mais 4 milhões de judeus para o Natal, para perfazer os 6 milhões da praxe.

    Ora oiçam o famoso actor Meshilem Meier Weisenfreund, mais conhecido por Paul Muni, a pôr a careca à mostra ao tio Adolfo:

    Nazis promise the world: 4,000,000 dead Jews for Christmas

    Bons filmes, dra. Isabel Moreira. E não se esqueça de mostrar a tatuagem. Ah, a bananalidade do Mal!


  3. Terrível equação, a do vídeo acima indicado:

    4 milhões de judeus prometidos para o Natal

    + 2 milhões de judeus de lamentar

    = 6 milhões de judeus ho£ocaustizados

    Mais arrepiante, só mesmo o barbeiro de Treblinka. Cenas chocantes do filme «Shoa», com entrevista em Israel por Claude Lanzmann, aqui:

    Shoa: Story of a Treblinka survivor

    Crítica de seis estrelas por Bradley Smith, aqui:

    SHOA: Abraham Bomba, Barber of Treblinka

    Breves extractos:

    “There you have in a nut shell how eye witnesses to the gas chamber atrocities typically describe their behavior. They did whatever the Germans or anyone else requested of them. When they received a request to help prepare their kinsmen — and even their own families as well as shall soon see — to be exterminated, or genocided or whatever, these fellows say they hopped right to it. I don’t believe them, but that’s the persona that they have chosen to project to the world at large. In the neighborhood where I grew up men who behaved like Bomba claims he behaved would have been spit on. In the upside-down world of Holocaust survivordom, however , the Abraham Bombas are seen as martyrs and even heroes. It’s a peculiar psychological slant on manly behavior.”


    “Two thousand years ago there were Jews who believed utterly that the son of their God had been nailed to a pole and executed and that he rose from his tomb to sail off the planet into the heavens. That tale was a runaway hit. Now we have Jews everywhere committed to the proposition that millions of them were exterminated in itty-bitty gas chambers, were cremated, and rose up toward the heavens in smoke. This one has all the signs of becoming a real blockbuster too. We Gentiles used to be made of sterner stuff. It took the Jesus story more than three hundred years to be accepted as Truth by the State. In our own time the State bought the Holocaust story at the first screening.”


    “What was the rush, one wonders?

    “Lanzmann urged Bomba to say something more about how he felt as he went about preparing the women and their children to be exterminated. Something more perhaps than the homely: “I felt that accordingly I got to do what they told me, to cut their hair …”

    “Bomba: “I tell you something. To have a feeling about that … It was very hard to feel anything … your feelings disappeared, you were dead. You had no feeling at all.”

    “This is a universal response by eyewitnesses to the alleged gas chamber murders. The claim Bomba makes that his feelings were “dead,” that he had “no feeling at all,” resembles the “temporary insanity” claim murderers use to diminish their responsibility for their behavior in the eye of the State. The ordinary murderer claims that his mental process was so diminished at the time he murdered that he was not responsible for his act. The eyewitness to the alleged gas chamber murders claims that his sensibilities were so diminished while he worked as a link in the murder process that he was not responsible for his behavior. The murderer was out of his “mind,” while gas-chamber eyewitnesses ran out of “feeling.” When Bomba describes himself as being inwardly “dead’ he is saying that he cannot be judged guilty of being an accomplice to mass murder. He can accuse Germans of whatever he likes — participate in the crimes he accuses them of — yet remain forever innocent while Germans remain forever guilty. It’s a nice set-up.

    “In the film Bomba goes on to illustrate how dead he was inwardly while working for the SS at reblinka. He describes how he shared the hair from women he knew personally from his home town, from his own street: “. . . and some of them were my close friends.” They would ask Abe: “What’s going to happen to us?” But Abe would hold his tongue. With Abe it was just snip, snip, snip. “What could you tell them?,” he asks Lanzmann. “What could you tell?”

    “Snip, snip, snip.”


    “I believe the worldwide Jewish community is being betrayed by the coupling of such men as Abraham Bomba and George Will. Jews are being betrayed by their own spokesmen, and they are being betrayed by gentiles who profess to be friends and allies of the Jewish community but who in reality are merely supporters of a Zionist leadership, entrapped by the rhetoric of the Holocaust Lobby, too ashamed to reveal the immense fraud and falsehood on which so much of its influence has been built.”

  4. Melhor ainda, o famoso episódio do maquinista de Treblinka, na Shoa de Lanzmann. Comentário de R. Faurisson aqui (excerpto):

    The Locomotive Driver’s Spontaneous Admission

    One of Claude Lanzmann’s most prominent witnesses was Henryk Gawkowski, seen in the film Shoah dressed in his driver’s uniform, wearing a cap and driving an engine as he had during the war years when he transported trainloads of Jews from Warsaw to Małkinia, and then to Treblinka. In a re-enactment scene, he leans out of the cabin door and, running a finger across his throat, he directs that gesture towards the space formerly occupied by the Jews as a sign that they were about to be killed.[1]

    I came upon Gawkowski in Małkinia, where he was born in 1922. In the mornings, our question and answer sessions went smoothly enough, but in the afternoons, under the influence of alcohol, he became an endless talker, incapable of replying coherently to questions. He went on about everything as if he had seen it all. He did not recall Lanzmann’s name. Possibly, though, Lanzmann had, as is his habit, introduced himself under some assumed name, arrogating academic titles to boot.[2] All the same, he spoke with fond remembrance of the film’s director, a Frenchman who, as he let us know, had supplied him with such fine “Spanish wines”.

    One morning, while he was reciting stories that he had plainly read and not lived, I interrupted Gawkowski to put to him, point-blank, a question that would topple the whole edifice of his boastings and regurgitations of what he had taught himself. I asked him:

    “But then, were you aware of taking all those Jews to their death, day after day, and over a period of nearly 15 months?”

    His reply burst forth:

    “No, of course not!”

    I asked him at what moment he became aware of such killings. Answer:

    “After the war.”

    In other words, to take up the parable of the American revisionist Arthur Butz,[3] Gawkowski was another one of those who, at the time, had not seen “the elephant.” He had neither seen it, nor heard it trumpet, but a good while later had become convinced that, in this particular corner of Poland, a monstrous pachyderm had, for nearly 15 months, secretly haunted the area, spreading terror as it went. Enough to make one think that “the elephant” was magical, unless it were only a mirage!

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