In Captured, makers Arnoud Holleman and Batya Wolff show the complicated handling of photography in Batya's family. Her father Max Wolff (b. 1926) bought a camera after the war. Photography became his coping mechanism for dealing with war trauma, but while photographing, the war also remained ever-present in the home. That put a damper on the life of his daughter, who grew up in front of his lens. Can she free herself from a war that ended long before she was born?
I understand why you want to be a writer. It?s better to be mediocre and famous than just being mediocre. But the difference between you and me is that I?m able to create a character of myself in a story I choose to live in. And you, I?m sorry to say, are not. That makes me a writer and you just a character in someone elses plot. And as for my work: The big misunderstanding about my work is that critics keep comparing the fictious Connie Palmen with the real Connie Palmen, instead of comparing her to other great characters in litterature, like Madame Bovary, or Lolita...
In the Netherlands, 75% of the Jewish population was killed during the Holocaust. The unique and vast photo archive of the Wolff family embodies almost one hundred years of Jewish family life - before, during and after the war. Seemingly generic family pictures unite and divide the family. For Max, first generation victim of the Nazi's, photography is a coping mechanism to deal with traumatic loss. For Batya and her two sisters, the second generation, the trauma was passed on through his lens.
Dus toen kreeg ik heel erg de wens, als mens maar ook als kunstenaar, om me te bevrijden van al die dingen... om werkelijk iets nieuws in te slaan. Maar dat gaat niet, want je kan het nieuwe niet bedenken op basis van al die ouwe zooi. Dus ik dacht, ik wil daar van af... en toen bleek dat soap ... bleek een deur te zijn naar... zeg maar dat je die ruimte in je hoofd weer werkelijk leeg zou kunnen maken en als een soort potentie zou kunnen gaan vullen... zelf.