When historian Axel Baiget and journalist Marta Trill began to investigate the consequences of the fascist bombings during the Spanish Civil War of the town of La Selva del Camp (Tarragona), they automatically thought of making a documentary. Por al cel (2015) was conceived as an audiovisual tale that was both oral and choral, in which witnesses would reconstruct their own experience without the intervention of Baiget and Trill’s voice-over. The present article analyzes the many explicit and implicit reticences that Baiget and Trill dealt with throughout the documentary’s filming. During that process, the authors reopened and explored some abandoned wartime bomb shelters. To reach some of those spaces was almost as complicated as accessing the accounts of many of the neighbors of la Selva who, from the very beginning, resisted participation in the documentary, refusing to revisit the buried collective/ conflictual memory. On the other hand, Por al cel allowed those who finally decided to participate to share their stories publicly for the first time, even though this format, based on a principle of non-intervention, opened the door for the emergence of lapses and reconstructions of the past.
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