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Heda Blochová was born in Prague into the Jewish family of the cofounder of the well-known Koh-i-noor factory. She married Rudolf Margolius, a lawyer. Soon after the wedding the young couple and the whole Margolius family were deported to the ghetto in Lodz. After spending a couple of years there, they were all taken to Oswiecim concentration camp. There the family was parted. Heda was lucky enough to be taken to a labour camp after a few months and was finally made to join the Death March. She managed to escape the guards and thus saved her life.
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The movie arose out of our sparetime as teenagers with fresh driver’s licenses and cobbled-together camera gear, wandering around a tired and honestly pretty grim post-industrial mill community, reinforced with after-hours access to the darkroom at the Sun Journal (where Aaron’s dad was the visuals editor), and some half-formed education in the techniques of Robert Frank, Frederick Wiseman, Dogme 95, Italian neorealism, pre-Obama Shepard Fairey, plus whatever culture pushed its way through the creaky pipes of low-bandwidth dial-up internet, or was smuggled up the actual superhighway of I-95 from Boston and eventually New York, or mailed first class via United States Postal Service from a burgeoning Netflix in those classic matte red envelopes, as valuable and rare as cash sent from China. [...] Somehow we negotiated access to a Canon XL1 3-CCD MiniDV camera and shotgun mic from the local public access station, in exchange for taping the high school graduation we didn’t participate in.
A historical revolutionary film depicting the struggle of peasants and the Baku proletariat against landowners and Musavatists in 1919.
