Thomas Lahusen commenced his academic career at the University of Lausanne (1982–1988) before joining Duke University as a professor in 1988. In 2001, he transitioned to the University of Toronto, where he taught Russian and Soviet cultural history and film. Beyond academia, Lahusen co-founded Chemodan Films, a Toronto-based documentary production company, and directed several documentaries focusing on Russian and Soviet themes. Notable works include “Komsomolsk Mon Amour” (2007), “The Province of Lost Film” (2006), and “Manchurian Sleepwalkers” (2017), which was featured at The Archaeology Channel International Film Festival in 2019.
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Through interviews conducted between 2009 and 2017 with former émigrés from Manchuria and its legendary city, Harbin, in China, France, Germany, Japan, Poland, and Russia, Lahusen explores how memory functions for these individuals, while painting a portrait of the city during the late 1940s and 1950s. The film begins with a driver discussing the transformation of his neighborhood post-redevelopment, setting the tone for a scene that has evidently changed significantly.
Kumiko Muraoka, a Japanese-French poet residing in a French retirement home, finds solace in forgetting the pain of losing her childhood home. Her amnesia serves as a metaphor for the overarching narrative: discerning what can and cannot be retained and recovered. Olga Banich, along with various Russians and Poles, share their perspectives, including the impact of the Chinese Eastern Railway in Harbin. The Soviet takeover, the influx of Han Chinese, and the Japanese occupation emerge, depicting a region as tormented as it was multicultural.
A prevailing sense of nostalgia is evident in the recollections of the majority, a sentiment eloquently highlighted during a Harbin Club reunion years later. The documentary introduces a chilling element with the presentation of the notorious Unit 731, a covert biological and chemical warfare research unit of the Imperial Japanese Army involved in lethal human experimentation during the Second Sino-Japanese War and World War II, steering the narrative toward a more shocking path.
The blend of interviews and archival footage effectively narrates the history of Manchuria and its émigrés, though Lahusen occasionally ventures into more artistic expressions, complemented by a musical score that sounds a bit too sentimental on occasion. The editing on the other hand, stands out as a highlight, seamlessly connecting the various elements.
While the focus leans toward Russian narratives, Lahusen maintains a balance, allowing the story to unfold from multiple perspectives, thereby analyzing the subject and the concept of memory comprehensively. With engaging interviews, especially for history enthusiasts, “Manchurian Sleepwalkers” is a commendable documentary that educates while offering a measure of entertainment.
