La zona d'interesse

This incandescent film portrays the idyllic life that the family of Nazi commandant Rudolf Hoss enjoyed in a sumptuous house right next to the concentration camp in Auschwitz right in the middle of the Holocaust. There is very little soundtrack and it all unfolds at a deliberate pace that is in keeping with Jonathan Glazer's slow-burn, disquieting style. A rigorous sense of order and calm is prevalent throughout.

We never actually see any of the Holocaust taking place even though it's right next door. The barbarism and butchery are only apparent from the screams in the distance or from fires at night or smoke during the daytime. The pristine, lush surroundings of this family bely the mass extermination that is taking place in the immediate vicinity. It's a masterful work in which conveys horrible events by leaving them to the imagination.

A repeat viewing might be helpful as subtitles in this film are sometimes rapid-fire. But overall, this is an extraordinary and memorable film from start to finish. Recommended to everyone, without exception.

Director Jonathan Glazer isn't very prolific with only three prior films over the past 23 years, but each is marked by a distinctive vision (SEXY BEAST, BIRTH and UNDER THE SKIN). ZONE OF INTEREST is no different with an even more controlled conception.

Loosely adapting Martin Amis' novel, Glazer creates a setting, a tableu, and never lets go. Opening with a long ominous musical overture by Mica Levi the viewer is plunged into a seemingly tranquil German family home. Uniformed Nazi officers are about, served by compliant women. A commandant, Rudolf Hoss (Christian Friedel) returns home to his family including his wife Hedwig (Sandra Huller, superb as she also was in this year's ANATOMY OF A FALL) and five children. Hedwig's mother, Linna (Imogen Kogge) comes to stay with them. Their yard is idyllic save for a high concrete fence that partially masks an industrial looking building just behind it. Auschwitz.

Lukasz Zal's (IDA, COLD WAR) camera never moves. The set-ups are often at quite a distance, as if it were all a set-piece on a stage. As officers come and go, the viewer overhears snatches of conversation about how to more efficiently run the camps, Rudolf attententively leads the discussions. Hedwig runs the home, with a determined, yet outwardly calm demeanor. The banality of evil has rarely been depicted with such domesticality. The children play outside as most kids would do, only with a faint everpresent chimny smoke wafting into the sky. There are a couple of departures from the regimented compositions when dark children's fairy tales are depicted as if a camera negative. Levi contributes additional chilling music cues.

As placidly chilling as the visuals are Sound Designer Johnnie Burn creates a malevolent maelstrom of audio effects mixing in gunshots, dog barks, mayhem and human voices. Glazer never shows the insides of the camp, yet the sound and visions more than carry his intent. Even more so, since they burrow into the audience's subconscious.

Glazer has crafted a movie with a precise, if a bit self-limiting, goal. There are some moments that don't work (particularly late in the film), but one never doubts that it is uniquely his own. For those willing to take the bleak journey, Levi's exit music will haunt one long after it fades out.

This is one of the most unsettling films I've seen in a very long time. Rudolf Hoess was the Kommandant of Auschwitz, and oversaw the murder of around three million people.

At the same time, he was a devoted family man, who lived with his wife and children in a large house just outside the camp. The camp itself is hinted at but not seen. Instead, we see Hoess taking his children on picnics, boating trips and horse rides. His wife and her mother talk about how wonderful the garden is, oblivious to the sound of gun-shots and columns of smoke rising from the crematoria just beyond the garden wall.

Christian Friedel's Hoess is nothing like Ralph Feinnes' Amon Goeth in Schindler's List. The latter radiated sadistic evil; the former is terrifyingly normal. He sees the running of a concentration camp as a job and nothing more; a series of practical problems to be overcome through hard work and organisation. The Hoess children seem terrifyingly well-adjusted as well. The worst that can be said of any of them is that one boy can be mean to his younger brother.

There's no real plot. The only significant events are Hoess' wife becoming upset because her husband's transfer might lead to her losing her idyllic house and "idyllic" lifestyle; and Hoess' later re-appointment to Auschwitz. Thanks to that nice Mr Google, I can reveal that these events took place in November '43 and May '44. The film ends shortly afterwards. We see nothing of Hoess' trial or execution. Just a family man with an odd haircut.

It's easy - all too easy, probably - to regard Hoess and his ilk as one-dimensional villains; evil in the way that Bond villains are evil, or Darth Vader is evil. Nothing to do with us at all. The Hoess we see here IS like us. He can oversee the deaths of thousands of people during the day (and off-screen), then come home to read bed-time stories.

Nor are Hoess and his ilk firmly in the past. For all I know there are Israeli politicians and leaders of Hamas who think nothing of bombing their perceived enemies, yet who love their children and are loved in return.

Towards the end of the film there's a scene shot in the Auschwitz of today - but even here expectations are defied. We see the early-morning cleaning shift arrive before it's opened to visitors. It's a place of horror, but there's still a need to sweep the floors and clean the windows. Why? It's a very human contradiction.

The message of the film is simple but profound - and also terrifying. We're ordinary people, but so was Hoess, at least on one level. That thing we call civilisation is a wafer-thin veneer. If we don't look after it, we'll lose it.

The medium of 'Cinema' is widely recognized as a means of visual storytelling, where a series of moving images move the narrative forward, with background sound playing a secondary role. However, there are instances where the audio takes control of the sequences and defies conventionality.

Jonathan Glazer's "The Zone of Interest" serves as a prime example of this phenomenon. The director skilfully employs a variety of sounds, such as the constant arrivals of trains, gunshots, and the burning of chimneys, creating an atmosphere that is undeniably terrifying.

Whilst there are a few noteworthy cinematographic elements, including effective use of juxtaposition, it is the background score and sound design that bear the brunt of the storytelling.

For those interested in watching this film in the comfort of their homes, I would personally recommend finding the quietest possible environment, utilizing proper sound systems or headphones (preferably noise-canceling ones), and try to watch the entire thing in one sitting, without interruptions.

Trust me, this approach will significantly enhance your perception of the film.

However, it is important to note that the film heavily relies on visual as well as auditory 'insinuations,' such as suggestive sounds and framings, to convey its message. As a result, individuals who are might be unfamiliar with historical events, particularly those lacking knowledge of "The Holocaust," may struggle to grasp these subtleties.

In essence, it is not a readily accessible feature for all viewers out there. Bear that in mind.

It's rare that I say this but 'The Zone of Interest' is a film where the more you know going in, the more you will likely enjoy it. I always try my best to know as little about a film going in as possible, however I think that really hurt my enjoyment of this film. I kept waiting for a story to develop, for some kind of conflict or plot or just... something. In hindsight I now see what the film was going for and if I had known that I think I would've enjoyed it a lot more (or at least a little more).

I had to watch a few explanation videos to fully grasp what they were going for. This is clearly a very intelligent and well thought out piece of cinema, but it certainly isn't going to be for everyone. Watching those explanation videos made me realise that I myself am nowhere near smart enough to fully appreciate a film like this on a single viewing.

I think I like the idea of 'The Zone of Interest' more than the actual film itself. This one won't be for everyone, however if you are able to grasp what they're going for and connect with it, I imagine it could be quite a special experience. 6/10.