Ten years after liberation, Alain Resnais returns to the sites of Auschwitz and Majdanek, cutting between color footage of the abandoned camps as they stood in the mid-1950s, grass growing over the tracks, and black-and-white archival footage of the Holocaust as it happened. Narration by camp survivor Jean Cayrol, spoken in flat, restrained French over images of shaved heads, mountains of shoes and hair, crematoria, and the machinery of mass murder, refuses to let distance soften what the pictures show. The film moves through the mechanics of the camp system: the trains, the selections, the medical experiments, the gas chambers disguised as showers, the bodies processed like industrial output. It does not name the dead or the guilty in comfortable detail; instead it asks who is responsible and lets the question sit unanswered, aimed as much at the audience a decade later as at the perpetrators. Running under half an hour, it remains one of the first films to confront the camps directly on screen, and it does so without flinching or explaining itself away.