In late May or early June of 1944, two SS men named Ernst Hofmann and Bernhard Walter photograph the arrival of Hungarian Jews from Carpatho-Ruthenia at Auschwitz-Birkenau, most of them transported from the Berehovo Ghetto. The resulting photographs, known as the Auschwitz Albums, are the only surviving visual record of the extermination process there, and this film moves through them frame by frame. The pictures show lines of arrivals waiting for selection, families still holding luggage, and the orderly bureaucratic sorting that preceded the gas chambers, but never the killing itself. A survivor, Lilly Jacob-Zelmanovic Meier, later finds the album by chance and eventually donates it to Yad Vashem, which is how these images entered the historical record at all. The film reads faces rather than captions: confusion, exhaustion, and in some frames a visible unawareness of what is about to happen. Nothing graphic appears on the page, which is precisely what the film argues makes the photographs so hard to look away from.