Experiencing Interruptions?

The End of Remembrance?

How do we get across the monstrosity of the Holocaust today? 
Have we reached the end of remembrance? This is the existential question the film asks.

January 27, 2011: 66 years after the liberation of Auschwitz, the so called «Kontaktstelle» (contact pool) for Holocaust survivors in Switzerland, put an end to its existence as a registered association. At this occasion, the members of the «Kontaktstelle» were invited to Berne by official members of the Swiss Federal Administration. Under the auspices of Ruth Dreifuss, a former Federal Councillor, a festivity took place with speeches, music and a culinary buffet.

The film shows moments of this festivity as well as moments of the life of the survivors,  specially when they speak about the horrors they went throug during WWII. They also tell us about what and how was their life after the war and they let us take part of the their meetings. They regularily met during 16 years and still meet until today, although less officially. The group is small, many died and only few contemporary witnesses can still come togehter.

Another part of the film tells about a collection of booklets, written by former victims about their sufferings caused by the Nazis. Title: «Living with my past». 
The world known painter Gerhard Richter made the  edition of the booklets possible (Suhrkamp) and even created a cover for each booklet. These covers are parts of his paintings «Birkenau», the background of which are photographies made secretly in concentration camps.

Director Statement

I am a descendant of Holocaust survivors. My film reflects the experience of a child born after the Holocaust and how he must learn to deal personally with both the horror of the Holocaust and the destinies of the survivors.

In the course of my life, the history of my family was revealed and our link to the holocaust made clear. My father survived Mauthausen,and weighed only 35 kilos when he was liberated. He came from a religious family, but for him, God died in Mauthausen. My mother survived the war in Budapest. My parents believed that Judaism would not be an issue for me; and subsequently, I did not discover the significance of Judaism in my life until I was an adult.

Now, as I hear the stories of the Holocaust survivors who have gathered at the contact point, it affects me personally, because of my own family history.

In the film,I am concerned not only with the history of an important, unnoticed association; I am concerned that each person is personally confronted with the fear of the past. Forgetting and hiding, seems too often to be the solution for people. Should we not at least make a decent attempt at a "visualization" as the authors of the booklets do, and as does a Gerhard Richter with his Birkenau pictures?

Beginning with the dissolution of the contact point for Holocaust survivors, I would like to present a thought-provoking work on how the inconceivable events of the Holocaust can be overcome today.
Peter Scheiner

  • Peter Scheiner
  • Peter Scheiner
  • AVA Scheiner AG
  • Project Title (Original Language):
    Ende der Erinnerung?
  • Project Type:
  • Runtime:
    60 minutes
  • Completion Date:
    January 17, 2017
  • Production Budget:
    96,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Zurich, Kino Stüssihof, 2 to 8 February 2017
    February 2, 2017
    Screenings Zurich, Kino Stüssihof 29 January 2017 / speakers: Urs Faes (writer) and Peter Bollag, (journalist) 
Distribution Information
  • AVA Scheiner AG
    Country: Switzerland
    Rights: All Rights
Director Biography - Peter Scheiner

Peter Scheiner – Curriculum vitae

*1947 in Komárno, Czechoslovakia, today Slovakia


Primary school and highschool in Komárno, Czechoslovakia

Professional work

1962 - 1965 Correspondent for the Czechoslovak TV (news))
1965 - 1968 Cinematographer for documentary films and for films of popular science (Filmstudio Bratislava)
August 1968 Cinematographer for the Austrian TV (report about the invasion of Warsaw Pact troops in Czecoslovakia)
1968 Immigration to Switzerland and work as cinematographer in the Museum of Zoology of the University of Zurich and at Becker Audiovisuals, Zurich
1972: Together with Susanne Scheiner-Seifert establishment of the filmproduction company Audio Visuelles Atelier, since 1987 AVA Scheiner AG, Zurich, Switzerland
Responsible for production, direction and editing


Films in behalf of industrials firms, service companies and state institutions
Clients among others:
Chocolat Frey AG (Migros), Cantonal Council of Zurich, SDC Swiss Agency for Development and Cooperation)
More than 1000 firms belonging to the pharmaceutical and the food industry use AVA educational films about hygiene and quality. The film «The Uninvited Guests» (about bacteria) has been translated into 24 languages.
Awards among others
«The Sulzer Rüti-Quiz»: Heinrich Fueter award for best director
«Träume und ihre Verwirklichung» (Dreams and their Realisation, a film about oil and environment:
1st price of Festival Internationale du Film sur l'Energie
Auto-Oscar of Filmservice Munic


2020 Forgiveness?
(Eurasia Int. Filmfestival 2021 Best Documentary, Doc without Borders Exceptional Merit)
2019 Step by Step (Kyiv Film Festival Ukraine 2020: Best Historical Feature)
2017 End of Remembrance?
(SIFF 2020 Best Film about Swiss Culture, Miami Film Festival 2017 Semi-Finalist)
2013 Epilog zu Aus Galizien in den Aargau
2012 Naiv Dremas
2007 From Galicia to Aargau – Trails of a Jewish European in the 20th Century
2001 Memories for The Future – Jews in Komárno (Pacte de l’audiovisuel)

Privat Life

Married to Susanne Scheiner-Seifert
Two sons, David born 19

Add Director Biography
Director Statement

Während Jahren gab es in der Schweiz eine «Kontaktstelle für Überlebende des Holocaust», ein Verein von Personen, welche die Shoah überlebt haben. 2011 hat sich der Verein aufge¬löst. Weshalb?

Der Film folgt meiner Erzählperspektive, ich reflektiere durch Auswahl der Szenen und durch die Montage die Ratlosigkeit, die Hilflosigkeit in Bezug auf den Umgang mit der Geschichte des Zweiten Weltkriegs. Man hat Mühe mit dem Ungeheuerlichen umzugehen und für die Zukunft die richtigen Schlüsse zu ziehen. Wie kann, wie soll das Unfassbare des Holocaust heute kommuniziert werden? Ein Unbehagen bleibt immer. Das ist der rote Faden.