Death, Grief, and Mourning in an ICTY Film: Exploring Relational and Non/Living Worlds

International criminal justice is filled with living, dead, and dying bodies. While witnesses detail atrocities in the courtroom, such testimonies are largely considered for their evidentiary value to establish innocence or guilt. In this article, I explore how death, grief, and mourning are represented at the International Criminal Tribunal for the former Yugoslavia (ICTY). I focus on the ICTY documentary, Crimes Before the ICTY: Višegrad, to analyse how filmic representations of international criminal justice register dead, dying, and grieving bodies. Drawing on Queer Death Studies and relational ontologies, I explore the more-than-human and non/living worlds through which death, grief, and mourning are represented in the film. A queer relational approach reveals and challenges the construction of the dead as evidence and death worlds as crime scenes. This approach illuminates how the natural world and buildings, bridges, and artifacts are vestiges, witnesses, and sites of death and grief in Višegrad. My analysis explores how these representations in the ICTY documentary reinforce civilizational logics and reductive representations of violence at the same time as they illuminate relational encounters of death and dying in international criminal justice, thus enriching attempts to see, know, and feel loss in the wake of violence.