Saul fia

The unimaginable terror of a death camp, where you've become desensitised to the everyday slaughter and murder of herded souls to keep your sanity until a pause, as the machine fails its evil mandate and expels an innocence for manual extermination, and you're connection to a flame that died some time ago is relit, rekindled, reawakened, with perspectives reset and clarity restored, the overwhelming passion and desire to do what's right in the face of everything that's wrong, in the knowledge that it may be the last righteous thing you may ever do, or indeed anyone may ever do as far as you know in this world gone mad.

Outstanding performances, cinematography and direction in a story that will break your soul.

This movie is not taken on lightly as an audience member.

To classify it as 'entertainment' would certainly be wrong because the subject matter is so uncompromisingly challenging.

I wanted to love it unreservedly for the bravery of its content but I'm afraid I was left a little cold.

The film is shot in square format (possibly 4:3) which is immediately disarming and unusual (the last time I saw this was in the very different Wes Anderson's Grand Budapest Hotel) and it's used effectively because it gives the viewer a voyeuristic look into the mayhem that is Dachau where the movie is set. It also helps the director from a budgetary point of view because it eschews the need for expensive wide shots.

The opening scenes are astonishingly harrowing as we see the "pieces" of Jewish bodies essentially processed through the factory of death with disturbing, off screen, dog barks, German soldier orders and mechanical noise. It's brutal and affecting in the extreme.

In some ways this is what I grotesquely wanted from the movie. I wanted to be horrified like no horror movie could achieve.

Forgive me for this but it didn't happen. Yes, the mood was grotesque thanks, in particular, to the extraordinary sound design, but on screen I felt it shirked its potential too much.

In the end this voyeuristic cinematography ultimately becomes both tiresome and limiting.

The fundamental weakness of the movie, in my opinion, is in the storyline. Frankly it's not that credible and doesn't stack up. The main protagonist (Saul) discovers his (illegitimate?) son as a gas chamber survivor and smuggles him out of the situation to seek a Rabbi to give him a proper Jewish burial.

This leads to a sequence of events that side stories with an undercover camp breakout in which he is also inexplicably involved.

Sorry, it's not credible.

And Géza Röhrig as the lead didn't really do it for me. And so the early wonderment of the movie, it really is very moving, starts to erode and gradually descends into incredibility.

I love what this movie stands for. I respect every iota of it.

I just didn't think it was particularly good overall.

You can watch a lot of films about Holocaust, but this one is truly outstanding. I experienced a genuine compassion to Saul while watching. Author managed to make us feel all the cruelty of war times.

I do not understand how the previous commentators were able to add their opinion, since I saw the very first screening of the movie outside Cannes in the Művész arts cinema of Budapest tonight, on May 29, 2015.

The movie was followed by a discussion and Q&A session with the artists.

Director Nemes aimed to create a movie that is deprived of the post-war artifacts present in most Holocaust movies.

For this goal, he and his staff made substantial historical research to make the smallest details truthful. The shooting took place from less than $2 million, in a very short period (28 days). French, Israeli and German investors did not give money for the movie for fear of a loss.

As the director mentioned, a movie of this length is spliced together form 300 to 700 cuts these days. Theirs required only 80. You are in the camp, you are Saul Auslander. There is utter confusion, you do not know what awaits you in the next second. This is a reality movie with no happy ending that shakes you.

This movie starts completely out of focus - literally. The viewer sees only vague shapes moving around. Is this a technical error or an experiment gone wrong? Nothing of the kind. After a while, the face of lead character Saul Auslander moves close to the camera - and into focus.

And it stays this way. In the first few minutes, the camera stays within a range of 50 centimeters from Saul's face. Or I should say: Saul's head - because sometimes we see only the side or the back of his head.

The effect of this style of filming is no less than spectacular. All kinds of things are happening around Saul. Horrible things, we soon learn. But we never get to see them close by. We only see shapes, out of focus, at the extreme fringes of the screen, and we hear the sounds. And we keep seeing his face, in focus. He moves around, works, does things, and all the while all we see is his face.

Soon we understand where he is: in a Nazi concentration camp. Saul belongs to a Sonderkommando, a group of Jews who are temporarily spared from death to do the labour the Germans don't want to do. In the midst of the terrible atrocities, it becomes his mission to bury a boy he believes is his son.

This film is unique in showing the concentration camp for what is is: hell on earth. Naked dead bodies being dragged around, desperate people being shot indiscriminately, complete absence of anything humanity stands for. It is exactly this total loss of dignity that drives Saul in his hopeless quest for a way to organize a proper burial for the dead boy.

Son of Saul is the complete antithesis of that other monumental Holocaust movie: Schindler's List. While Spielberg's film is made according to all the rules of good film making, Son of Saul is a claustrophobic trip, without any possible concession to commercial appeal. The dialogue is often hardly comprehensible, spoken in three languages, sometimes not louder than a whisper. Not all the acts and events are quite clear, and only after a while you understand what exactly drives Saul.

This is a unique, hard-hitting movie experience. When you go see it, don't expect a well-rounded story with heroes and villains and a nice ending. But expect to be swept away.