In the city of Stockholm in 1995 Tana Ross played cello for a specially composed piece by Noa Ain: "Through the Silence — Concerto for Cello & Survivor". Tana had survived the holocaust. She subsequently approached her friend, Orly Yadin, who together with Sylvie Bringas made the magnificent and powerful animated documentary Silence (1998). Narrated by Tana herself, it is the story of a young girl who is protected by her grandmother through the the darkest days when her family are taken away from her whilst she remains hidden. Surviving the war she and her grandmother settle with the girl's uncle, a professional orchestra conductor. Responding to family pressure, she remains silent about her trials until, at the age of twenty, she is given a small parcel of letters that throws light on her past. The 11 minute animation is not grueling in a way holocaust stories often are, and should be. It answers the question why it took 50 years for Tana to describe what happened to her. If you had been hidden in clothing baskets or packing cases, as other children were rounded up and transported in cattle trucks to death camps, perhaps the habit of silence would be hard to relinquish. The movie is made up of different styles. It commences with grey, contemporary footage as well as an image of her mother, then we progress through black and white often symbolic animation before full colour is used as we move to Sweden and freedom. It is a film of understated images that nevertheless reveal the tension and tragedy: insects being swept up and transforming into children, the suitcase into which the child and subsequently adult crawls or the flashback as a railway porter becomes a Nazi soldier. The film is full of crowds obscuring the girl, of sidling into corners and doorways, closing curtains, entering and leaving. Evasion. Two animators worked on the movie: Ruth Lingford for the black and white first section that sinuously unravels Tana's early days - evasive, shifting, shadowy; Tim Webb animates the colour scenes in a slightly more literal style though very much from a child's perspective. Orly's music is used to moving effect in this joint British and Swedish production. For very good reason, copies of the film are used in Sweden's schools. Two links. The Internet Archive has a higher resolution download and Orly writes at length on the making and the origins of her outstanding movie in a paper, But Is It A Documentary? Postcript: I write a lot of reviews and always stand to be corrected. In the case of Silence Orly has made the following clarifications: "Tana did not play the cello in Stockholm - she recited the words of the tone poem that she and Noa Ain had written. Her recital was accompanied by a cellist playing Noa's music. Secondly, towards the end you say "Orly's music" - it is not my music - we used some of Noa's music and also Sibelius for the piano playing sequence." Finally a plug for Orly's DVD - "A DVD with many many extras (storyboards, early versions of the scripts, statement by the filmmakers and the animators etc) is available for purchase. Anyone interested can go onto my distribution website - www.yadinproductions.com, or email me direct at firstname.lastname@example.org" I hope this clarifies things what is a remarkable movie.