“In Atlantis, land ruled by Kaiser Überall, a war breaks out. Seeing no end to the war, Death refuses to carry on his role. If everyone perishes, there is no meaning to death.” This is the synopsis for the prologue of the opera, ‘Kaiser of Atlantis.’ Jewish composer Viktor Ullman composed the opera with his colleagues in Terezin detention camp in Czechoslovakia, in 1943. However, he was killed by Nazi before seeing its first performance. The film Kaiser of Atlantis follows the process of Ullman’s composition in the detention camp and ties to it the story of musicians who prepare for the opera’s performance in Madrid. As the producer of the opera thinks about and focuses on the fierce sense of morality left by Ullman, Director Sebastián Alfie takes pains to figure out how to show Ullman in his work, as there are no visual records of Ullman remaining. One of the resulting outcomes is to include the animated sequences in the film; the animation sequences were created based on the few drawings left by Ullman’s fellows from the camp. The film exquisitely puts together carefully selected music from the opera, excavated truth, and sophisticated representational methodology.​