In relation to Jean-Luc Godard's Le Petit Soldat (1960)

In its ethics and aesthetics of ambiguity, Jean-LucGodard's narrative simultaneously  bears witness to a moment of multidirectional memory, in which discourses surrounding the Holocaust and the Algerian War appear to converge. In particular, the film's antihero Bruno forms a complex composite of O.A.S. agent and the French Resistance hero Pierre Brossolette; his torture thus emerging as a means to unite two forms of collective trauma traditionally regarded as distinct . .