For more than twenty years, Marie Dumora has been exploring the eastern part of France through documentary filmmaking, often delving into painful memories of World War II, such as the forced deportation of the Yeniche people, a subject she examined in her 2018 film Belinda. Her latest work, La Ligne bleue, focuses on the granite quarry at the Struthof camp, the only concentration camp established on French soil. Now overgrown with vegetation, the site is the focus of Dumora’s exploration of the "rosy scar" left by the camp and the road leading to it, which was constructed by prisoners forced to work in the quarry. The Struthof camp was part of the larger Natzweiler complex, where approximately 52,000 people were held, and at least 17,000 died. La Ligne bleue uses testimonies from those who witnessed or were indirectly affected by the events at Struthof, aiming to uncover a history that has largely been forgotten. The film juxtaposes images of the past with those of the present, revealing how the remnants of that violence still echo in the landscape. For instance, the road that once led to the camp now winds through the heart of a forest, bypassing a village that once stood nearby. While the film's approach echoes, in a measured way, the style of filmmaker Claude Lanzmann in Shoah, it does not quite reach the same level of depth or intensity seen in that landmark documentary. Some of the testimonies, however, are deeply moving. Marie Dumora's cinematographic choices—such as using a handheld camera and a 50 mm lens—create an intimate atmosphere during interviews, allowing for personal connections with those she speaks to. However, the film struggles to visually connect the narratives with the surrounding landscapes, which could have provided more context. Despite these limitations, La Ligne bleue is valuable for bringing attention to a lesser-known chapter of history and highlighting the rare instances of solidarity and compassion shown by some Alsatian villagers toward the deportees. These acts, ranging from small charitable gestures to actual love stories, stood in contrast to the widespread cowardice, indifference, and denial that were common during that time.