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This article analyzes the different configurations of subjectivity in Daniel Bur-man’s El abrazo partido (2004) and Gaston Solnicki’s Papirosen (2011). In both films, the self is presented through others. Their families and places of be-longing allow the protagonist of the former film and the director/narrator of the latter to reflect on both past and present. By examining the others, they are trying to locate themselves in a larger historical narrative: the history of Jewish families that have survived the Holocaust and escaped World War II, ultimately migrat-ing to Argentina. With dissimilar aesthetics, each film offers a distinct formation of the self, but both reveal a sense of disenchantment with reality and the broken family ties. In this context, a double ethical obligation emerges: one related to the confrontation with the others and another one related to belonging to a third generation of exiled Jewish families looking for their own role in the torn history
