Close to Evil: Extended Cut – Review of Irish Film at the Galway Film Fleadh


Stephen Totterdell takes a look at the extended cut of Gerry Gregg’s award-winning documentary, Close to Evil, which screened at this year’s Galway Film Fleadh.

Cognitive Dissonance. Is there any psychological process that has caused more trouble in the world? But the cognitive dissonance on display in Close to Evil allows us insight into how atrocities can occur, and how they occur again. Tomi, a Bergen-Belsen survivor who arrived in Dublin in the late 1950s, decides to seek out one of the last remaining SS officers from the camp. He doesn’t want to confront or accuse. Rather he wants the SS officer to show remorse, and to shake her hand in the spirit of reconciliation. Hilde Lisiewicz served as an officer in Bergen-Belsen while in her early 20s, and went on to put it behind her and live a normal life.

It’s the smile that does it. The “chit-chat”, as one interviewee puts it. We expect a former Nazi to show remorse, or to have become embittered, or to live a punishing life. But Hilde smiles, says she doesn’t remember much, she liked the uniforms, would you like a sandwich? It’s the banality of evil, and is something German cinema has dealt with repeatedly. The recent Austrian film Michael analysed it: that film tells of an unassuming office worker who returns home in the evening to a child he has locked in his basement. It’s the stories about Hilter being a vegetarian. We expect a monster. When these people turn out to be human it causes what Julia Kristeva calls ‘abjection’. We see a part of our own identity become vulnerable; the border between us and these monstrous figures is blurred, and we react with disgust.

That Hilde can’t acknowledge her own history of atrocity speaks to a wider human condition. What would happen if she had acknowledged it sooner, or at all? Is it possible to acknowledge being a part of such a thing without finding some excuse, some reason that you weren’t really a part of it? Such a realisation would surely end in suicide. Hilde seems so assured of her innocence that she brought her children to visit Bergen-Belsen, telling them that she worked as a chef in the camp. But why did she lie about her job there?

It’s the kind of mentality that reminds us never to take the world for granted, that our powers for self-justification are endless. Look at those arguing for unjust wars abroad, look at the situation with Israel and Palestine. Guy Debord’s Society of the Spectacle comes into it. In a way, people find comfort in putting the Holocaust in the past; in saying there, that’s where the evil is. In looking at the horrific footage available. It existed, and it was terrible, but it was in the past where it can’t get us. Like Kristeva’s abjection, an acknowledgment that this kind of atrocity could still happen; that does still happen; that we could all be in some way complicit in something or other, would threaten our sense of identity too much. So we put it in the past, and we wonder how the Germans of the 1940s could have let such things happen.

Click here for our coverage of Irish Film at the 26th Galway Film Fleadh  (8 – 13 July, 2014)


Close To Evil: Extended Cut – Preview of Irish Film at the Galway Film Fleadh

close to evil

The 26th Galway Film Fleadh (8 – 13 July, 2014)

Close To Evil: Extended Cut

Fri 11th July



The extended cut of the award-winning documentary, Close to Evil, will screen as part of the 26th annual Galway Film Fleadh. A ‘work in progress’ version of the film received acclaim when it screened as part of last year’s fleadh, getting a runner-up spot for Best Irish Feature Documentary. Director Gerry Gregg will now return to the Fleadh with an extended cut complete with extra footage.

Close to Evil follows Tomi Reichental, one of two surviving Holocaust victims living in Ireland, on a quest to find one of the SS guards who kept him captive. Director Gerry Gregg told Film Ireland that  “I want to sincerely thank Miriam Allen and Gar O’Brien for encouraging us to finish the film and for endorsing what we have made by screening the extended cut in Galway this year. From the outset when Miriam and Gar saw an early rough cut they supported us.

“Last year’s success at Galway greatly helped us and made life a bit easier for our champion in RTÉ Colm O’Callaghan. It was Colm, our RTÉ Executive Producer who stepped into the breach when the Film Board surprisingly declined to back the project.  It was Colm who made sure that we kept going, put us back on location when and where it mattered and oversaw a film that none of us involved could have foreseen how it would end.”

Director Gerry Gregg gives Film Ireland the background to the new extended cut of his film Close to Evil here.

Tickets are available to book from the Town Hall Theatre on 091 569777, or at