the zone of interest…

I went along to the Watershed yesterday afternoon to see Jonathan Glazer’s film “The Zone of Interest”. It proved to be a tough, but very impressive watch.
The film focuses on the world of the true-life Nazi commandant of Auschwitz, Rudolf Höss (played by Christian Friedel), and his wife, Hedwig (Sandra Hüller) – both brilliant performances – and their five children. They live immediately next door to the death camp (which appears in the film merely glimpsed over the walls of their well-tended garden)… so it’s only the constant smoke and the film’s scary soundscape that gives a hint of the horrors that are taking place there.
The Höss family live a wholesome, idyllic life – enjoying the beauty of nature, swimming in a nearby lake, sunbathing in the long grass - but, every now and then, you’re hit by some horrific revelation… such as Hedwig picking out an expensive fur coat once owned by one the camp inmates or one their sons counting gold teeth (pulled from inmates) in bed in the middle of the night or another of the sons locking a brother in the greenhouse and making the noise of incoming gas for fun.
When Rudolf is transferred from Auschwitz to Oranienburg, Hedwig insists on staying in her dream house… but, in due course, the Nazi hierarchy decides that the number of camp deaths needs to drastically increase and Höss is re-called back to Auschwitz. In the phonecall to his wife announcing the decision, he talks about ‘murder’ without softening the language… but his words barely register with Hedwig, she just moans that it’s the middle of the night and that she needs to get back to bed.
In a film review by blogger Robert Daniels (isn’t the internet wonderful!), he says this: “Because how we remember history, how we make note of current events—through propaganda, photography, video, and the internet—is a constant interplay between the truth as it exists and as it has been edited. The fact that ‘The Zone of Interest’ arrives now, as world powers manipulate the narrative to sanitize their crimes, makes Glazer's images all the more chilling”. Let that sink in.
I think I’ll leave things there… there’s so much more I could add, but I think it’s a film you need to see you for yourself.
It’s a bruising, painful, brilliant film… and the sense of what’s happening behind the walls never leaves you. It’s one of those films that will stay with you for some time.