When filmmakers use existing footage as a raw material for their work and subject it to, for example, physical and chemical processes, the original material’s narrative remnants resist deformation and abstraction, thereby producing a new subtext. This is the case with Johannes Hammel’s three-part Jour Sombre. He employed home movies shot in the 1950s and ’60s, of trips into the mountains, hikes across a glacier, alpine huts and lakes.