Paper from the Conference “Current Issues in European Cultural Studies”, organised by the Advanced Cultural Studies Institute of Sweden (ACSIS) in Norrköping 15-17 June 2011. Conference Proceedings published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=062. © The Author. 411 On Foreclosure and Fresh Cherries Teodor Ajder non affiliated doru28@yahoo.com This is an attempt to put a video-art work - Świeże wiśnie (Fresh cherries) by Anna Baumgart to a critical test proposed by the film critic Serge Daney 1 . Daney formulates his axiom while discussing a number of films that emerged in Europe as a result of the Holocaust experience. He claims that an author creating a film dealing with such a theme should not place beauty before the just; the author should endow the film with the honesty to acknowledge the impossibility of tell- ing a story - the stopping point in the course of history, when storytelling freezes or runs idle, and finally, such a film should not be speaking about amnesia or repression, but rather about foreclosure, that is a hallucinatory return to the real of something upon which it was impossible to place a “judgment of reality”. 1 In this paper I cite extensively from Postcards from the cinema, Serge Daney talks with Paul Grant. 2007. Berg Publishers. “To see one must take a position. “ Georges Didi-Huberman, Quand les images prennent position. L'œil de l'histoire, 1