‘The Zone of Interest’ is a historical drama that tells the story of Rudolf Höss, the Commandant of the Auschwitz concentration camp. The film is loosely based on the 2014 novel by Martin Amis. ‘The Zone of Interest’ starts off with a black screen which foreshadows the narrative and sets the dark tone for the film. We are then introduced to Rudolf and Hedwig Höss and their family as they enjoy a picnic in the countryside amid their participation in a horrible genocide.
The movie takes a unique angle in approaching the Holocaust as the audience does not see any of the Holocaust taking place even though it’s right next door to the Höss house. Director, Jonathan Glazer, shines a light on the historical context, using atmosphere to give the audience a sense of unease and dread. Glazer presents a juxtaposition of the upscale lifestyle of the Höss family with horrifying sound effects of Auschwitz in the background. A literal wall is all that separates the family and audience from witnessing the brutality of systematic genocide. Moreover, the director allows the audience to see what is happening on the other side of the concentration camp wall in an introspective and psychological way attempting to display evil and how people that benefitted from the Nazi regime and crimes against humanity.
Christian Friedel and Sandra Huller gave sensational performances. Each scene with the actors is held under a stark microscope dissecting their motives and decisions.
The sound design is outstanding as the events over the wall are detailed with a subtlety but with realism (sound of guns, screams and trains). This aspect is what makes this movie stand out. This story is haunting enough, but the sound is personified as a character in this horror story.
Cinematographer, Lukasz Zal, did a masterful job in this film and allows the audience to observe the entire frame and surroundings. The cinematography is captured in static camera wide frames so that the audience can view the entire screen and distance. The film demands complete attention with particular attention to the background or corners of the frame. For example, a wave of crematorium smoke billowing in the distance, or some hazy ash floating by the Nazi flower garden. Moreover, the objective point of view is contrasted with several artistic moments with negative images or monochromatic slates which, in my opinion, underlines the horror.
In the film’s final moments, the viewer gets a glimpse of what might be a conscience in the commandant. From the distanced “fly on the wall” technique, to the nonchalant dialogue to the muffled background sound design – this film was a masterclass on saying a lot with very little. The subtleties challenged the audience to connect the dots in their own mind. I highly recommend this fantastic film.
Amazing review! Very good