This paper explores the limits of cinematic truth-telling and representation, particularly in relation to trauma, genocide, conflict, and lived religion. Traditional semantic and text-based approaches often fall short in capturing the lived experiences of individuals, especially in contexts where reality seems beyond expression - whether due to trauma, the presence of the sacred. These experiences are frequently described as “unspeakable” or “ungraspable,” defying articulation in conventional language. Compared to purely verbal representations, film offers a powerful set of audiovisual tools that can express aspects of these complex realities. Through cinematographic and narrative techniques, film provides unique ways to depict the ineffable, offering alternative modes of engagement with trauma, conflict resolution, and religion. At the same time, film itself has representational limits—certain experiences remain not only unspeakable and ungraspable but also unimaginable. However, by probing the boundaries of representation, film can evoke what it means to be unable to speak or imagine. This paper draws on educational insights from two transdisciplinary minors I am involved in at Vrije Universiteit Amsterdam: Visual Evidence (film) and Peace and Conflict. Several films will be analyzed to examine how cinematic techniques engage with these themes, illustrating the potential and limitations of film as a medium for truth-telling in religious and (post-)conflict settings.
Srdjan Sremac (Thu,) studied this question.