Munk died before completing Passenger; nevertheless, it is widely considered to be the pinnacle of his career. The film was pieced together according to Munk's screenplay by his colleagues, who used still photographs Munk had shot of unfinished scenes with such artistic skill that they create a powerful film statement. On an ocean liner, a German emigré notices a woman from her years spent in a wartime concentration camp. The reunion is more difficult than one would imagine, however, as one woman was a Nazi guard, and the other her prisoner. "I was as powerless as she," the guard avers in the first edit of her story; but a second take reveals the elaborate mental tortures she subjected the other to in the name of saving her physical being. The film's insights into the relationship of oppressor to oppressed are nothing short of stunning. Present and past are locked in their own psychic battle-the past a flowing, evolving, widescreen narrative, the present a cold, still light.