TRANSIT

This article explores Maryan S. Maryan’s experimental film Ecce Homo (1975), as both a site of Holocaust remembrance and a radical intervention into the aesthetics and ethics of witnessing. Positioned against the backdrop of canonical Holocaust representations—from early documentaries to Shoah—Maryan’s film emerges as a self-initiated, transnational memory work that anticipates key features of the memory film. Through re-enactment, fragmented narrative, and visual collage, Ecce Homo aligns with Stella Bruzzi’s concept of approximation, presenting history not as fixed truth but as open to rupture and reinvestigation. At the same time, the film functions as an activist document that extends its testimonial impulse beyond the Holocaust, forging links with global histories of violence and oppression. The article situates Maryan’s translingual voice and diasporic biography within broader debates about trauma, documentary form, and the politics of visibility.