Days that we have 60 or 70, we break it down where we have "hero" makeups, which are features, and "midground" makeups, which are paint jobs, where we paint highlights and shadows on their faces to make them look dead, but they're not intended to get too close to the camera.
The young Polish director Jolanta Dylewska has fashioned some of this archival footage into what feels like a concentrated act of mourning: as figures move through the streets or walk toward the trains that will transport them to the camps, portions of the frame are blown up so that individual faces can be scrutinized, and the film slows, often to a dead stop.