Unlike other children running out excitedly after the performance, Nina looks nervous as she leaves the building on her own. She has just hesitantly confessed that she’s Serbian in front of the audience. The look of agitation and fear on her face embodies the trauma of tragic violence. Croatia in the early 1990s saw widespread animosity against Serbians that posed a military threat. The deep-seated discrimination and violence against Serbs led to the murder of an innocent 12-year-old girl named Aleksandra. The film chronicles director Oliver Frljić’s production of a theatre play about the case. The actors taking part in the play run into a major challenge for they themselves have been protagonists of that social memory. Ironically, the act of revealing a tragedy from the past on the stage forces them to confront their own scars. They are the first to take on the responsibility of reenacting the memory of violence, which is fair to some and inexpugnable to others. Therefore, their rehearsals become a social experience that helps them overcome the trauma of the era. [LEE Hanbeom]