المركز الوطني للوثائق والمحفوظات

Archive and reconstruction in the same film pull in opposite directions — one is fragile and the other is clean, and cutting between them badly makes both look staged. The grade narrows that gap, ageing the dramatised material toward the archive rather than restoring the archive toward it, which is the direction that keeps the documents feeling like evidence. The cut treats the document as a character and returns to it, so the history has something to hold on to.