One of the most complicated questions in film and theater relating to the Shoah is how to render the events visible. Through an analysis of Michael Glawogger's Kill Daddy Goodnight, a film based on the eponymous novel by the Austrian writer Josef Haslinger, this article outlines one possible new approach. Glawogger's film is an attempt to adopt the strategies of art cinema for use in a feature film, but Kill Daddy Goodnight does not turn away from the terrors of history. Rather, it experiments with varied aesthetic forms and dramaturgical practices, depicting the Shoah yet maintaining the idea of redemption.

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