Director Nobuhiro Suwa's most celebrated film grapples with the unrepresentable, the dropping of the atomic bomb on his native Hiroshima. Both before and behind the camera, Suwa attempts to respond to both the extant documentary material and to Alain Resnais's iconic memory film Hiroshima mon amour (1959). Cinematographer Caroline Champetier created some of the deepest, most voluptuous blacks of her career in the film, and they are movingly connected to both the act of filming and the challenges of visual perception.