“If we don't know our past, we are nothing”: This is the key sentence of the animated feature film "The Tower". The premiere of this film created by Norwegian director and animator Mats Grorud was in February 2019. Unaware of the filmmaker's biography, one may ask a question why the Norwegian filmmaker decided to make a film about the Palestinians’ life. It turns out that her mother worked as a nurse in Lebanon in the 1980s and lived with her son in Cairo and Jerusalem for about a year during the First Intifada. “The Tower” represents over 70 years of history, from Palestine in 1948 to the nowadays’ Beirut. May 15th is an important day for movie heroes։ Israel was created on that day putting the start for Palestinians' war and wanders. The main character is an 11-year-old girl, Wardi, who was born and lives in a refugee camp with her family. Throughout the film, Wardi seems to be a link between the four generations and hope, especially for her great-grandfather Sidi. The latter was one of the first settled in a refugee camp since 1948. Following Sidi's actions, it becomes clear that the character, loosing his home, lost also his hope and faith in life. Wandering around the camp, climbing different floors of the tower, Wardi talks to his family members, listens to their stories of war, migration, and life. So the little girl tries to look for Sidi's last hope. Each floor of the tower is a separate room where members of the large family live. Through the conversations between Wardi and other heroes, each person's personal tragedy is revealed. At first everyone looks happy on the outside: the aunt is dancing, the grandmother is doing her homework, but when they remember their past, viewers notice the changes on the characters' faces. There is a conflict in the film. It is a never-ending chain of past-present-future and the connection of four generations. Based on the memories of the film, the connection becomes clearer and the drama becomes more compelling. Animating the film helped to make it more comprehensible and interesting. Classic puppet animation used for camp scenes, 2D animation for historical scenes. Pottery is also used to depict the heroes. It also helps in expanding the target audience. Not only children, young people, but also people over the age of 40 can view it. It is noteworthy, however, that despite the historical significance of the theme, the film lacks depth, the characters are numerous and superficial, which can confuse viewers. Some characters remain undiscovered, some just appear and disappear immediately, it is difficult to understand the significance of their role. Especially at the beginning of the film it was not easy to understand who the main character was because there was no concentration. There are also scenes of violence and murder that, however, do not enhance the emotion and impact of the film. For example, the scene of a child being killed by a sniper is weak and simple. If viewers had just heard the sound of the shot and the mother's cry and saw the other child's stunned look instead of the episode of a bloodied child, and if the blood had been out of the scene, the impact would be greater and there won't be ethical problems (the murder scene in question). In terms of animation tools used in the film, the combination of animation and real photos was an interesting solution. The theme of the film reminds Ari Polman's animated film "Waltz with Bashir" created in 2008. The latter represents Israeli military operations in Lebanon and massacres in Palestinian refugee camps in the 1980s. Taking into account that the topic of the film is based on a historical event, it is clear that there is also a political problem. Here we need to analyze it from the point of view of impartiality. Is there not one-sidedness building the film's idea on the memories of the characters? While watching the film, we know only about from the one-side heroes’ psychology and personal pain. Maybe if the people from the opposite camp were also been presented, the film would be more comprehensive and influential, wouldn't it? To sum up the critical and structural analysis of the film, it is clear why the filmmaker created the film through animation: it helps to overcome the historical pain and hope that eventually found both Sidi in Wardi and Wardi knowing her past and finding faith for the future.   Anna Kostanyan