A 73-year-old security guard from the Old Masters Picture Gallery in Dresden writes a letter to the director of the Muzeum Sztuki of Łódź, requesting to volunteer as a security guard there.
The fourth in a series of short films entitled “The Anonymity of the Night,” The Right is a fictional story framed by historical sentiments. The ostensible reason for the security guard’s wish for a transfer – apart from her personal history as a Polish-German refugee in the 1940s – is the Łódź museum’s collection of avant-garde pieces by the “a.r.” group (“revolutionary artists”, “real avant-garde”) from the 1930s, one of the most renowned leftist Polish avant-garde groups of the interwar period, which she values much more highly than the old masters in the Caravaggisti room in Dresden, where she is currently placed.
by Assaf Gruber
with Sabine Wackernagel, Ewa Dałkowska
Germany / Poland 2015