Jonathan Glazer rocks the festival with his most uncomfortable film yet

black screen for three and a half minutes bathed in the deep music of mica levy, in their fabulous new collaboration with Jonathan Glazer Afterwards under the skin (2013), Welcome area of ​​interest, Preparing the public for what will happen immersive sensory experience from a particularly uncomfortable perspective to some of the most intolerable corners of human history: the Daily life in the house of the commandant of a Nazi death camp.

Glazer took the title and setting area of ​​interest, Novel of the same name by Martin Amis which also takes place in a concentration camp, but is set in a real case instead of having fictional characters One of the scariest Nazi officers. in particular, of Rudolf Haus, SS lieutenant colonel and commandant of the Auschwitz-Birkenau camp, whose resume is believed to be attributed to Destruction of 2.5 million people.

As if that weren’t terrifying enough, in the eyes of Hoss and his superiors, that chilling figure only indicated He was efficient in his work. That overwhelming insignificance of absolute evil is the aspect that interests Glazer’s book. Hannah Arendt On the nightstand british director made a rigorous and hypercalibrated reconstruction of Daily life of Hoss and his family in the house next to the farm Where the machinery of cutting human life was kept at full capacity.

Table of Contents

a reality show in auschwitz

Glazer’s formal device applies itself monolithically and completely: usually in long shots with a stationary camera. angles reminiscent of security videos or footage from a coexistence reality show, and shows scenes from the home life of the Hos The freezing distance as mechanical in the assembly of shots as in the design of gas chambers Designed to achieve its maximum effectiveness within capitalist rationality.

approach when recording the daily life of such residents The microcosm within of absolute evil, With its routine, household jobs, and oppressive hierarchy (many domestic servants are made up of local girls with Jewish relatives) It is reminiscent of other historical entertainment projects between cinema and performance like a monument commune, Of Peter Watkins, or, above all, the megalomaniacal project dau, Of Ilya Khrzhanovsky; Here though, Glazer steadfastly stays away from his characters and to our knowledge has not gone berserk.

sandra holler (Toni Erdmann) Haus plays Hedwig, the wife and mother of his five children, who devotes herself to maintaining the house, ordering domestic servants, and designing an extravagant garden. His special arcade. There’s only the small annoying detail of the noise of the killing machinery, of course. A Nonstop and crazy background soundtrack Made of machinery, shots and screams of fear cover the entire footage, just as the thick smoke from the cremation ground stains the sky.

This is the space Glazer gives to horror. out of visual field of intolerable sound presence And Through trivial details: Watchtowers cutting across the horizon, blood-stained boots, dialogue about production figures and results that immediately take us human question Of Nicholas Klotz… If the individual scenes were taken ignoring the context, they could be from a family drama where the father tries to avoid a transfer within the company because of how comfortable he is in his position.

Therefore simple and bleak How is he? A handful of nocturnal scenes that deviate substantially from the rest of the formal system or a certain rift between entertainment and non-fiction are only brief deviations from a resolution that remains steadfast and undisturbed, know that the horror that throbs in each of his images It’s enough to make you cry.

data sheet

Poster for 'The Zone of Interest' in Cannes

  • Director:

    Jonathan Glazer

  • gender:

    historical drama

  • Country:

    united kingdom, poland, united states

  • Summary:

    Nazi officer Rudolf Haus has become the best of his work: commandant of the Auschwitz labor and extermination camp.

  • script: Jonathan Glazer
    mould: Sandra Hüller, Christian Friedel, Ralf Herforth, Max Beck
    Duration: 105 minutes
    Premiere: 2023

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