The Zone Of Interest *****

Starring : Christian Friedel, Sandra Huller, Ralph Herforth, Johann Karthaus, Luis Noah Witte, Nele Ahrensmeier and Lili Falk

Director: Jonathan Glazer

Duration Running Time : (approx) 1 Hour 45 Minutes

Distribution : A24, Film Four, Access, Polish Film Institute, JW Films, Extreme Emotions

'THE ZONE OF INTEREST' is classed as 'an historical drama' film and also written and directed by Jonathan Glazer, who is also a screenwriter and is also 'loosely' based on the novel by Martin Amis, originally published in 2014, it was also a 'co-production' between three countries - notably The United Kingdom -UK, The United States -US and also Poland.

The film in question - also premiered at the 'seventy-sixth' Cannes Film Festival, situated in France on May 19, 2023, where it received 'a six-minute' standing ovation at the ceremony and won both 'THE GRAND PRIX' and also the 'FIPRESCI' (this is known as 'THE INTERNATIONAL FEDERATION OF FILM CRITICS' and that 'FIPRESCI' which is short for 'FEDERATION INTERNATIONALE de la PRESSE CINEMATOGRAPHIQUE) - is in fact - an association of national film critics of national organizations of not only professional film critics - but also film journalists situated from around the world for 'the promotion and also the development of film culture, and also for the safeguarding of professional interests'.

The 'FIPRESCI' - in question - often present many awards during 'FILM FESTIVALS' - to recognise 'the sheer enterprising in unique filmmaking and also that some of these 'FILM FESTIVALS' - in question - include the following: 'The Berlin International Film Festival', 'The Cannes Film Festival', 'The Vienna International Film Festival', The Toronto International Film Festival', 'The Venice Film Festival, 'The Warsaw Film Festival' and also 'The International Film Festival of Kerala', - now this in question - is held 'ANNUALLY' in Thiruvananthapuram, -which by the way, is in fact, 'THE CAPITAL CITY OF KERALA, THAT'S SITUATED IN INDIA - but that also that the real purpose of these awards is to 'PROMOTE' - 'FILM-ART' - and also to encourage 'NEW' and also 'YOUNG' cinema.

Just for the record - 'FIPRESCI' - was originally founded in June 1930, in Brussels, Belgium, and also it has members in more than at least fifty countries worldwide, however in reaction to the invasion of Ukraine in 2022, almost two years ago, 'FIPRESCI' - 'in question - had announced that 'IT WILL NOT PARTICIPATE IN FESTIVALS AND ALSO OTHER EVENTS THAT ARE ORIGINALLY ORGANIZED BY THE RUSSIAN GOVERNMENT AND ITS OFFICES' - and also had cancelled a 'colloquiqm' (the real meaning of an academic conference or seminar) in St Petersburg, that it was to be familiar with new Russian movies.

It was also named as 'BEST FILM' by the Los Angeles Film Critics Association, selected as 'ONE OF THE TOP FIVE INTERNATIONAL FILMS' of 2023 by the National Board of Review, and was also chosen as 'THE BRITISH ENTRY' for the 'BEST INTERNATIONAL FEATURE FILM' - formerly known as 'BEST FOREIGN FILM ' - at 'THE 96th ACADEMY AWARDS' which is due to take place on Sunday March 10, 2024, at the Dolby Theatre, situated in Hollywood, Los Angeles, California, and that the film in question was also 'NOMINATED FOR THREE GOLDEN GLOBES AWARDS' including 'BEST PICTURE' in the 'DRAMA' category, and also 'NINE' BAFTA's - including 'OUTSTANDING BRITISH FILM', plus the film was also 'NOMINATED FOR FIVE ACADEMY AWARDS - aka OSCARS' -including - 'BEST PICTURE', 'BEST DIRECTOR', and also 'BEST ADAPTED SCREENPLAY' for Glazer, as well as 'BEST INTERNATIONAL FEATURE FILM' - just for the record - the film in question - won 'THREE BAFTA'S - including 'OUTSTANDING BRITISH FILM', 'FILM NOT IN THE ENGLISH LANGUAGE' (aka 'BEST FOREIGN LANGUAGE FILM) and also 'BEST SOUND', but the film in question won 'TWO ACADEMY AWARDS' - notably 'BEST INTERNATIONAL FEATURE FILM' and also 'BEST SOUND.

But it was during his acceptance speech at the Oscar ceremony in Downtown Los Angeles, along with James Wilson, a film producer, both of whom are of the Jewish faith, that Glazer made a 'SIGNIFICANT STATEMENT' - and that he 'LINKED THE SUBJECT OF THE HOLOCAUST MATTER OF HIS FILM' - to the criticism of Israel's 'ongoing conflict' in Gaza.

In his speech, Glazer said 'the following statement' :

''Our film shows where dehumanization leads us at its worst ... Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation, which has led to conflict for so many innocent people - whether the victims of October 7th in Israel or the ongoing attack on Gaza - all the victims of this dehumanization ... How do we resist ?''

Naturally, his comments had sparked a divisive reaction.

Some praised his 'speech' for its stance on the Gaza conflict, while others, including the Holocaust Survivors' Foundation USA (HSF), had 'condemned' it.

But in an open letter, David Schaecter, the HSF President, had described Glazer's comments in question as 'FACTUALLY INACCURATE AND MORALLY INDEFENSIBLE'.

Now, the story behind the film is in fact 'BASED ON THE REAL-LIFE HOSS FAMILY', as Rudolf Hoss (Fridel), the commandant of Auschwitz, who, lived with his wife Hedwig (Huller), and also their five children in 'an idyllic home' next to 'the camp'.

But that the film 'in question' also depicts 'the domestic bliss' of the Hoss family, who have actually 'built their EDEN' on genocidal foundations, and also that the film - in question - NEVER CONTRASTS THIS UTOPIA WITH THE VICTIMS OF THE HOLOCAUST - and who are also situated on 'the other side of the wall', - but also that instead we - as 'the movie audience' who are watching as well as also witnessing this movie throughout - are in fact - that we stay - with its perpetrators - the term of this meaning refers to 'INDIVIDUALS' who by the way have in fact 'COMMITTED A CRIME OR EVEN A VIOLENT ACT' -and also 'THE TRUE FACT' that IT IS OFTEN USED IN A LEGAL AND ALSO A SOCIETAL CONTEXTS which is basically to - 'IDENTIFY' - those that are 'RESPONSIBLE' for unlawful actions.

'THE ZONE OF INTEREST' - the film in question - was in fact - 'TEN YEARS IN THE MAKING' - and after completing 'UNDER THE SKIN' back in 2013, eleven years earlier, Glazer became intrigued by the then novel by Amis, which by that time had also then had 'NOT YET BEEN PUBLISHED', and also that after he had 'READ THE NOVEL' - he had optioned it to become a film.

Now Paul and Hannah Doll, the novel's 'TWO MAIN CHARACTERS' - were in fact - 'LOOSELY BASED' on Rudolf Hoss, the 'LONGEST-SERVING COMMANDANT OF AUSCHWITZ CONCENTRATION CAMP' and his wife Hedwig, so Glazer had opted to use 'THE HISTORICAL FIGURES' instead, and had also conducted at least 'TWO YEARS OF EXTENSIVE RESEARCH' into the Hosses.

Glazer had made 'SEVERAL VISITS' to Auschwitz, and was also 'profoundly affected' by the sight of the Hoss residence, Glazer had also collaborated with the Auschwitz Museum and also other organisations, and had obtained 'special permission' to have access to view 'the archives' where he examined the testimonies that were originally provided by the survivors and also the individuals that were uniquely been employed inside the Hoss household, and also that by 'piecing together these testimonies', Glazer, had also 'constructed' a unique detailed portrayal of the 'individuals' that were involved in the reconstructed pieces and which were in fact - connected to the events - in question, and also that in doing so Glazer had consulted Timothy Snyder, an historian, and whose book entitled as 'BLACK EARTH: THE HOLOCAUST AS HISTORY AND WARNING' originally published in 2015, during his research.

By 2019, Glazer had in fact confirmed the development of the project with A24, Film Four Productions,Access Entertainment and also House Productions, - these were in fact various film companies who were in fact simply in charge by co-financing as well as producing the film in question, and in the same year Friedel had his first meeting in London with Glazer and also Jim Wilson, a film producer, for the role of Rudolf Hoss, however, although daunted by Glazer and also Wilson's description of their 'forthcoming film project', Friedel had felt compelled too, as back in 2013, six years earlier, Friedel, who in question, had first met Huller, while acting together in 'AMOUR FOU',an Austrian drama, directed by Jessica Hausner, and who had also recommended her for the role of Hedwig, the wife of Rudolf.

Now Huller in question, was originally first sent 'an excerpt of the script' - this script in particular involves 'an argument between Rudolf and Hedwig' - that was originally presented out of context, before learning 'the project's nature' as a film about the Holocaust, and although she had resolved 'never to portray' a Nazi, - it was Huller who was also convinced after reading 'the full script' and also meeting with Glazer, by believing that 'he shared and also addressed her concerns about how to properly depict Nazism on screen', and also as a result, Huller's own dog, a Black Weimeraner - (this is classed as 'a large dog' that was originally bred as 'a hunting dog' in the early 19th Century - plus the fact that early Weimeraners were in fact used by royalty for hunting large game, such as boar, bear and also deer) - portrays Dilla, the family dog - in the film.

The young Polish girl in the movie, is in fact, inspired by a woman named Alexandria, and also who Glazier had in fact met during his research, however as a twelve-year-old member of the Polish Resistance, she used to cycle to 'the camp' to leave apples for 'the starving prisoners', but also that in this film is that she had discovered 'a piece of music' that was written by Joseph Wulf, and also that the prisoner in question - had in fact - survived the war, but also as it turns out that Alexandria, in question was in fact 90 years old when she met Glazier, and also sadly 'passed away' after, but also the bike that's seen in the film and also that the original dress that the actress wears had originally both belonged to her.

The original Hoss house has in fact also been a private residence since the end of the war, and Chris Oddy, a production designer, in the film had in fact spent several months converting 'a derelict home' beyond the camp wall into a replica of the Hoss residence, and in April 2021, had started by planting the garden, so that when the filming began that the garden in question -would be in 'full bloom' - also in the Summer of that same year the 'principal photography' had begun in Auschwitz, and which lasted approximately about 'fifty-five days' in total, plus additional filming took place in January 2022, at Jelenia Gora, this is an historic city situated in southwestern Poland, within the historical region of Lower Silesia.

The film was also 'SHOT' on 'SONY VENICE' digital cameras that are equipped with 'LEICA LENSES' - ( just for the record these cameras also known as 'CINE ALTA' - are in fact - a series of professional digital cameras that are produced by Sony that also replicate many of the same features of '35MM' film motion-picture cameras) - Glazer and also Lukasz Zal, a Polish Cinematographer, had 'embedded' up to at least 'TEN CAMERAS' - in and also around the house - and had also kept them running simultaneously - 'with no 'film crew' on the set, and this approach which Glazer dubbed as 'BIG BROTHER IN THE NAZI HOUSE' - had in fact - allowed 'the actors' simply 'to improvise and also experiment extensively' during filming - both Glazer and Zal - the film director and the Polish Cinematographer - had in fact aimed for 'a modern look' and also did not want to 'aesthetize' Auschwitz - in question - and that as a result, only practical as well as natural lighting was used throughout.

But Glazer - in question - had also did not want 'the atrocities' occuring 'inside the camp' - 'to be seen' - but also - 'to be heard' - but also that Glazer had described 'the film's sound' - as simply - 'the other film, and also - 'arguably' - as - 'the film' - but as also to that end - Johnnie Burn, a sound designer, had compiled a 'six-hundred page' document containing not only relevant events at Auschwitz, but also the testimonies from witnesses, but also 'a large map' of the camp so that the distance as well as the echoes of the sounds could be properly determined.

Because Burn, had in fact, 'spent a year' building 'a sound library' just before filming began, which had also included the many sounds of 'manufacturing machinery', 'crematoria', 'furnaces', 'boots', 'period-accurate gunfire' and also 'the human sounds of pain' and that Burn, in question, had continued 'building the library' well into the shoot and also as well as post-production throughout, and also Mica Levi, - also known by Micachu 'their stage-name' is also an English singer, songwriter, composer and also a producer, but is also classically trained, had originally wrote 'an original music score' for the film, most of which was then jettisoned as both Glazer, the film director, and also Burn, the sound designer, did not want to have the film ''sweetened'' or even ''dramatized'' by it, and also that the music that Levi had wrote for the ''prologue'' had in fact stayed in the film, as did several soundscapes, originally created for several sequences and also a sound collage for the ''epilogue'' of the film.

The film premiered to 'critical acclaim' and has also had many positive reviews throughout - now some say that it's classed as 'a landmark movie and also hugely important' while others describe it as 'less positive' saying that the film for its disturbing atmosphere which also found to be well-crafted but monotomous, and also that the performances of all the cast-members appearing felt that could not bring any change to the concept that's presented in a film which lacked variety and also had remained stagment for two hours (it is actually classed as 1 HOUR and 45 MINUTES - (105 Minutes), but that also that the film has been described as 'uneasy' and also not entirely in complete control of its (intentionally) bad taste of choice.

However some critics have also pointed out that the film 'underscores' as 'the banality of evil' - this is in fact classed as a 'phenomenon' - described by Hannah Arendt, a philosopher, which had occurred during the trial of Adolf Eichmann, the 'architect' of the Holocaust.

Overall, the film in question seems to have sparked 'a range of reactions' with some appreciating its unique approach as well as many others who also find it as very controversial, but that the film is also very important to note that the 'art' in question that is especially dealing with many sensitive topics - like - the Holocaust, - can also illicit - 'a wide-range' of responses that also is originally based on individual perspectives - as well as interpretations.

But also Todd Field, a filmmaker, had 'PRAISED THE FILM' - by saying 'the following statement',

''For those familiar with Glazer's films it's no surprise that his approach here is unencumbered by tropes, genre conceits, or even the cinematic shorthand that we often take for granted.

Over his twenty-four year as 'one of our finest filmmakers' Glazer, in question, has consistently executed 'high-wire' interpretations of not only genre, but also that in the process has instantly and also has completely 'reinvented' them such as the following: 'CRIME' - 'SEXY BEAST' featuring Ray Winstone, Sir Ben Kingsley and also Ian McShane, 'PARANORMAL' - 'BIRTH' featuring Nicole Kidman and also 'SCIENCE FICTION' or 'SCI-FI' for short - 'UNDER THE SKIN' featuring Scarlett Johansson, for his 'pictures' within 'these frames' are in fact 'mind-blowingly' unique - for it's as he'd never seen anything that had been done before.

However, at the end of the day, Glazer's movie, is arguably 'classed' as in the tradition of representing the genre of 'horror' indirectly, like Claude Lanzmann and also Michael Hanke, now both of these are in fact renowned figures in the world of cinema, but like Glazer, that they are both known for their individual contributions of cinema, and that also that there doesn't seem to be a direct connection between them, ie: Lanzmann was a 'French filmmaker' known for 'SHOAH' (1985), - lasting 'an amazing 566 minutes' (that's about nine hours and twenty six minutes - in total) and which also focused on the Holocaust and which also that Lanzmann had hated ( just for the record - the word 'SHOAH' actually means 'CALAMITY' in Hebrew) Lanzmann in question filmed interviews with survivors, former Nazis, and also Polish villagers living near the camps, and therefore creating 'a powerful historical document'.

But it also finds its 'true identity' that the film in question not only changed the history of cinema in general - it also changed 'the political history with its journalistic revelations as well as its moral insights, where as on the other hand, Hanke, is an Austrian film director and screenwriter, and that 'his unique work' often examines 'social issues' and also 'depicts' the extreme feelings of estrangement that are experienced by the many individuals in modern society, but also that Hanke in question is known for his films such as 'THE PIANO TEACHER' (aka 'LA PIANISTE' - 2001), 'THE WHITE RIBBON' (aka 'DAS WEIBE BAND - EINE DEUTSCHE KINDERGESCHICTE' - 2009) and 'AMOUR' (2012) featuring Jean Louis Trintignant, Emmanuelle Riva and also Isabelle Huppert, and which have also won him not only critical acclaim but also numerous film awards.

But also while both directors including Glazer that have simply made significant contributions to the craftsmanship of cinema itself, there doesn't appear to be a direct collaboration or even a connection between the three film directors in question - but that their unique works that turn into unique masterpieces - do in fact - share - 'a common bond' of - 'a unique thread' - between the three - is that they explore the unique challenges between not only 'the social issues' but also 'the human experiences' - but then also that this is a broad similarity that is shared by many filmmakers throughout their unique careers - and that their original products of creation can turn into unique masterpieces and in which many film fans pay their hard earned cash at the movie theaters worldwide so that the many film directors deserve the recognition that turns into many nominations and ultimately win many awards in their careers.

The film in question does try to accomodate the many Jewish testimonies, but also that although it absolves flippancy, but also represents a kind of a loss of nerve - for its as if that the film finally can't bear to stay of historical irony and also has to be 'flash forwarded' out of there to restate its humane credentials, yet there can be still no doubt of Glazer's focuses of attention that concentrates on an evil and which also creates on its own banality, the banality of which had allowed 'the mass murderers' to go about their business but with one unique condition - that these go simply go out - on their own terms.

The film has also sparked many responses from the public, but does not explicitly depict the 'horrors' of the Holocaust, but also instead, that it uses the power of suggestion, alluding to 'the mass murder' through brief glimpses consisting of crematoria chimneys and also 'an ambient soundtrack' that's uniquely 'punctuated' by gun shots as well as many screams - and also that this unique approach 'has in fact been praised' simply for its audacity as well as its formal experimentation.

And in conclusion, having read many reviews about this that I then decided to see this unique masterpiece of a movie - at a movie theater - and that as I entered the auditorium inside the theater and took my seat to watch, but as the 'lights went down' and 'the film began' - that it was during this time that my entire body began to froze up - and also that 'the many images shown on the big screen' will of course simply 'haunt me' for not only many years - and will ultimately that these images will remain inside my brain - for some considerable amount of time - for this is a film - that is within a strong subject - is that it may also shock you - from start to finish that is simply 'jaw-dropping' to watch and that it is also an experience - and also that in all my entire years that by watching many films about the many subjects involving the conflicts involved in my life - is that by seeing this - as well as also experiencing this unique masterpiece on the big screen - had almost reduced me to shed many tears inside the theater itself - but also this is one of those unique masterpieces of cinema that you simply have to see inside a movie theater - in your entire life.

This is one of those that you simply have to see a movie theater - and its not only a unique masterpiece of 2024 - but also that you will need to watch this with a strong stomach - despite its subject - as well as its graphic content of a movie.

DON'T MISS IT !

David M.G.Mitchell