Zona de Interesse

This film was definitely different than I expected. Yes, it's a little slow. But you have to go into the screening not waiting for something big to happen. The whole point of the film is to show us that while all the horrific events of the Holocaust were happening and Jews were being murdered just for existing, there were plenty of folks that lived like everything was normal.

The fact the the Hoss family didn't even register the screams, cries, gunshots, dogs barking and massive amounts of fire and smoke shooting into the air right next door, just shows how self involved, entitled & oblivious they were. Thank goodness for Grandma who realized things were not right even after wondering aloud if her ex employer was "over there."

The most telling bit of action that I thought was genius was the dog, Dilla. The household is calmly going about their days. Servants are stoically doing their jobs, kids are playing and Mom is busy revelling in how great she has it. There's a bit of unrest in the house because of a disturbed sleep-walking daughter and a baby girl that obviously knows this world is f-ed up and is crying nonstop hoping Mom will let her go back into the good place.

But Dilla! She is trying to get anyone's attention! She is running, scratching on doors, whining and barking in every shot. Obviously she is the only one who REALLY hears what's going on next door and knows there are very bad people there. She can hear the cries and screams. Why won't anyone pay attention to her and listen to what she has to say? Somebody pay attention to the dog! Listen to Dilla! She's trying to tell you something and she's the only one that sees the truth.

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.

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.

The Zone of Interest takes a unique angle in approaching the Holocaust. Certainly an angle I haven't seen before in a film. This different approach gives the film a really sinister quality that frames the evils of the Holocaust in a new and terrifying way.

It achieves this approach through stark juxtaposition. It compares the relatively banal, matter-of-fact homemaking of the Hoss family against the utterly horrendous tragedy being perpetrated just over their garden wall. By doing this, it is not an overly graphic or in your face film. Instead, the violence and evil is primarily heard and not seen, as the horrifying sounds of the camp constantly bleed into the Hoss family home. It is in this way that the film makes its mark. To have such tragedy and horror ignored by this family and their guests. To normalise the mass murder over the garden wall. The glib and matter of fact way it is treated by them all. That is where the horror lies.

Whilst this is all a very effective way of framing the horrors of the Holocaust, I do think this film lacks any storytelling merit. There is no real plot to speak of, so once the point the film is making has been made it is easy to want it to be over so as not to sit with these evil characters and horrendous events for too long.

Then again it is a tricky point because I think this is definitely a story worth telling. Looking at the Holocaust from this angle to understand how normalised it became to certain people is vital to reflect on, but I'm not sure if a feature film was necessary to convey this.

So overall, I thoroughly appreciate what this film was doing and the angle it took. The direction is class in creating this juxtaposition and drilling this point home, but beyond it's core message there is nothing in this film to get stuck into. No real plot. No characters you want to understand or connect with. As a result it feels like it overextended itself as a film, but delivers it's message nonetheless.

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.