Jonathan Glazer’s chilling examination of the co-existence of mundane and monstrous – and shattering manifestation of Hannah Arendt’s powerful phrase from her seminal reportage Eichmann in Jerusalem – was as much a meditation on the Holocaust where industrialized extermination was perpetuated by white-collar bureaucrats zealously committed to overachieving their quotas and targets, as a devastating indictment of the complicity of the rest through wilful denial of genocide. The film’s title, aside from its reference to the coinage by the Nazi forces to describe the areas surrounding the Auschwitz camps, therefore also sardonically demonstrated people’s propensity for being oblivious to and even being apologists for the killings of those not belonging to their “zones of interest”. The latter aspect was emphasized by Glazer’s moral courage in expressing solidarity with Palestinians and “Not in My Name” campaign. Loosely based on Martin Amis’ novel, it depicted – through electrifying and formally rigorous scene compositions, virtuoso sound design, and a meticulously shaped script developed through a decade’s research – the unsettling domesticity and ordinariness of Rudolph Höss (an eerily unassuming Christian Friedel), his wife Hedwig (a frighteningly brilliant Sandra Hüller) who with their kids reside in an idyllic home adjacent to the death camp. Consequently, while the camera never looks beyond the walls, what’s happening there is obliquely and viscerally indicated through discomfiting minutiae, which made it an especially clinical and disturbing evocation of malevolent apathy. Glazer found the premise – demystification of evil by situating the film as “a story of here and now”, rather than “as something safely in the past” – so relentlessly dark that he interspersed it with stirring acts of resistance by 12-year-old Polish girl Aleksandra Bystroń-Kołodziejczyk, who he’d met shortly before her death.
Director: Jonathan Glazer
Genre: Drama/Historical Drama/Family Drama
Language: German/Polish/Yiddish
Country: UK
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