In a 1981 Dutch oral history project, two researchers recorded testimonies of several members of a 1930’s women’s anti-war movement. There remain few records of this history, whose actors were forced to destroy or burn any and all evidence likely to incriminate them. By the time of the oral history project, all remaining women were in their late 80’s. Grappling with a faltering memory, one member regrets not being able to get hold of a film shot during their last collective action, carried out in Rotterdam in 1939, before the bombing of the city. Following the execution of the person who made the film the material was left to be forgotten in a private collection. These two archives, recently recovered by Groenewegen and never before seen or heard, make up the material of Remanence. At each level, her film emphasizes the way in which events persist across time, highlighting the traces and echoes of gender politics left in the memories of the protagonists and in each of the viewers. These women’s experiences, both intimate and political, highlight a history of internationalist struggles against rising fascism and its recapitulation of patriarchal norms, drawing a connection with feminist struggles across the world.