Hunger and hardship ruled the Piemontese mountain village of Ughettera at the beginning of the 20th century. The meek peasants complained neither about the parasitic priests nor the tough seasonal winter work in neighbouring France – not even when the Italian state called them to arms and sent them first to Libya, then into the World War. Only when the Fascists arrive did the Ughetto family trade its home for new deprivations and new hopes across the border.

With this imaginatively directed puppet animation, Alain Ughetto has created a warm-hearted memorial to his Italian grandparents Cesira and Luigi. With subtle humour, tenderness and empathy he tells of generations who lived in poverty, but also of happiness and love, fortunes and misfortunes. “You don’t come from a country, you come from your childhood”, Cesira teaches him. The director finds himself in this family chronicle, recognises his predilection for working with his hands. Soon the film becomes a reflection on telling stories with what these hands shaped. They are frequently present in the frame – piling charcoal into a mountain, making forests from broccoli or simply getting handed a cup of damn strong espresso by Cesira.

A background study of a dying amusement culture, filmed in slovenly dressing rooms in front of badly polished make-up mirrors. – That’s how far editor Mary Stephen follows director Yoichiro Okutani’s montage interpretation of his own footage about the Japanese strippers called Odoriko. But Stephen’s editor’s cut begins fully dressed: a tastefully lit stage overture in costume, starting from which she rearranges or rather sheds the material, reintegrating image and sound sequences originally discarded by Okutani, for example the titular statement of an Odoriko explaining her choice of profession: “It was about being nude at heart.”

“Le sang a caillé, les bouches se sont tues,” Jean Cayrol writes. Paul Celan translates: “The blood has congealed, the mouths have fallen silent.” Alain Resnais’ archive film about the National Socialist concentration camps set new standards for the essayistic form. The score by Hanns Eisler had nothing to fear from changes to another language version. But the words of Jean Cayrol, more elegy than commentary? Paul Celan, creator of the “Death Fugue” and already associated with Cayrol as his translator, was asked to translate it into German. His lyrical rhythm, his tense switches deviating from the original text have shaped the West German reception history of Resnais’ film.

“Le sang a caillé, les bouches se sont tues,” Jean Cayrol writes. Henryk Keisch translates: “The blood has dried, the mouths have fallen silent.” When Resnais’ film was to be licensed for theatrical release in the GDR, it seemed obvious to resort to the West German dubbed version. But Celan’s translation failed to meet the approval of DEFA. They found fault with elisions that, for example, omitted the deportees from the Soviet Union. The official correspondence ended on an apodictic note: The acquisition was considered “irresponsible”. The writer and translator Henryk Keisch, loyal to the party line, was commissioned to write a new version – and of course made up for Celan’s omissions.