This article discusses Frank Chiche’s 2012 film Je vous ai compris and sheds light on the way rotoscoping complicates memorial discourses on the Algerian War of Independence. I argue that the superposition of different media and the changing allegiances of the film’s characters unsettle binary understandings of the conflict and challenge generic expectations. As the first ever BD-movie, it suggests that historical remembrance is akin to a constantly changing sculpture, defined not only by the memorial constraints of characters, but also by the perspectives of its viewers. Through an analysis of the genres and media, the construction of characters, and the description of memory as layered, I show that Je vous ai compris offers a sophisticated representation of a memorial quagmire that continues to inspire historians and artists alike.

本文讨论了弗兰克·奇切（Frank Chiche）2012年的电影《杰弗里·艾·康普里斯（Je vous ai compris）》，并阐明了轮转侦查使关于阿尔及利亚独立战争的纪念性论述复杂化的方式。我认为，不同媒体的叠加以及电影角色不断变化的效忠精神，动摇了人们对冲突的二元理解，并挑战了普遍的期望。作为有史以来的第一部BD电影，它暗示着对历史的记忆类似于不断变化的雕塑，不仅由角色的纪念性约束，而且由观看者的视角来定义。通过对流派和媒体的分析，人物的结构以及对记忆的分层描述，我发现《耶稣受难像》 提供了纪念性泥潭的精致表示，继续激励着历史学家和艺术家。