Director Jonathan Glazer tackles the Holocaust with a chillingly anthropological approach in 'The Zone of Interest.'
There's no shortage of films about the victims and perpetrators of the Holocaust, but Jonathan Glazer'sfollows Commandant Rudolf Höss of Auschwitz , his wife Hedwig , and their family as they live in domestic bliss just over the wall of the infamous concentration camp. We never see the atrocities of Auschwitz firsthand; instead, we hear gunshots and screams during a garden party and see the fiery glow and smoke clouds of the crematorium out the bedroom window.
Glazer presents audiences with an anthropological study of this Nazi family. Shooting entirely with natural light and multiple simultaneously running cameras, he presents them with a naturalism that belies their evil. For Hoss and his family are just like you and me: Hedwig frets over her meticulously tended garden and Rudolf reads his children bedtime stories.
Hoss takes business meetings about increasing crematorium efficiency and frets over the health of the camp's lilac bushes more than the human lives whose fate he holds in his hands. Christian Friedel is chilling as Hoss in the normalcy with which he instills him. He's no mustache-twirling Nazi out of anSandra Hüller in 'The Zone of Interest'Hüller is even more affecting as Hedwig in the ways she breathes to life the woman's complicity.
There are moments where the film veers too avant-garde: holding on a blank screen for minutes at a time, and some decontextualized night vision sequences. But they're frustrating blips in an otherwise harrowing cinematic experience. The Zone of Interest The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp.Mica Levi's score is essential to making the audience sit with their discomfort. Its atonal dissonance and choral arrangements that sound more like strangled screams are the stuff of nightmares.
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