The dissolution of Yugoslavia was a dramatic change that has already taken place. Yet, a fundamental question remains: can history and memory accept the complete erasure of the past? From this question, the film’s director, Mila Turajlić, sets out to explore a political era in which her country’s leader, Josip Broz Tito, played a pivotal role in the founding of the Non-Aligned Movement in the early 1960s.The Non-Aligned Movement, in turn, represented a middle ground between the socialist and capitalist blocs, and was also a strong supporter of national liberation movements around the world.Fortunately, photographer Stefan Labudović is still alive. He is not only a witness to that era, but also one of its most important chroniclers. He worked for the Photo News magazine for long periods of his professional life, and the Serbian state archive holds many of his photographs. The time and trajectory of Mila Turajlić’s cinematic work, which seeks an answer to its central question, are distributed through her remaining with her father and recovering a part of his vast photographic legacy. She does not seek an answer through political analysis, but through the recovery of a visual memory that she reconstructs and embodies cinematically in a striking style that is both beautiful and intensely condensed.In all his travels and meetings, Tito was accompanied by his photographer Labudović whoremained by his side. Despite the propaganda nature of his work, he was originally deeply convinced of the principles of justice and support for oppressed peoples in their struggle. This made him a hero in the eyes of the Algerians, whom he accompanied and documented their liberation struggle against the French colonizer. He did not seek fame from his work, so he remained in the shadows, saddened by the end of a state that witnessed moments of its political glory that as it fell apart and dissolved into states.Kais Kassem