Returning to Part II of the book, this chapter revisits the underlying metapsychology of victimhood. Exploring Freud’s account of mourning and melancholia, it considers the psychological need to mourn and the danger of melancholia. Mourning involves absorbing the loss of a loved identification and the need thereafter to return to an evolved sense of wholeness. This links it metapsychologically to guilt and the need to be at one again after violation. Melancholia is a way of internalising an external trauma and judging from it that one lacks worth. The case study is Patricio Guzmán’s film Nostalgia for the Light (2010) on the aftermath of Chile’s dictatorship (1973–90). The film focuses on women who search the Atacama Desert for remains of murdered family members or reflect on the loss of ‘disappeared’ parents. In a film that is the director’s own act of mourning, the women insist on their right to mourn and reject the state’s melancholia-inducing implication that their loss does not matter. The film’s metaphysical and aesthetic beauty places it on the victims’ side. ‘Nostalgia’ in its title reflects loving memory of the past as a means of anchoring engagement in the present rather than escaping it.