The Zone of Interest (2023), dir. Jonathan Glazer

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As in the Martin Amis novel from 2014, adapted. Due for US release mid-December.

Ned Raggett, Thursday, 19 October 2023 03:52 (four months ago) link

(I just saw Sandra Hüller in Anatomy of a Fall the other day so this looks like one hell of a one-two.)

Ned Raggett, Thursday, 19 October 2023 03:53 (four months ago) link

two months pass...

Hmm, I know Alfred saw it, wasn't totally positive, and maybe I missed discussion elsewhere. Just saw it myself -- I appreciated the coldness and the pettiness.

Ned Raggett, Wednesday, 17 January 2024 01:55 (one month ago) link

Yeah, rather on-the-nose despite unsettling moments

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Wednesday, 17 January 2024 02:22 (one month ago) link

The sound design of this film should win every award for such things. Most amazing aspect of the film, although Hüller is also great. As my wife put it, she moves around "like she hasn't taken a shit in 15 years."

Beyond the very obvious similarities with the occupation/destruction of Gaza this film evokes, it unsettles down to a microlevel. Hüller modeling a Jewish woman's fur coat that she's received is obviously grotesque, but most of us reading this also do a lot of compartmentalizing about the source of some of the clothes and goods we purchase.

Chris L, Monday, 22 January 2024 11:53 (four weeks ago) link

Saw this on Saturday, one of those films I can appreciate more than enjoy, Glazer certainly achieved what he set out to do in evoking the banality of evil, and reading up on Höss and his family it seems to have been very accurate. The sound design was astounding, yes, that long black screen at the start and the sounds over the end credits, also the photography was excellent throughout. But I'm still not sure I really took anything new away from it. I was talking to my wife about it yesterday and she wondered why there's another film about Auschwitz when so many other human-made horrors are left undiscussed, both historically and in the present day, I think it does bring home the message more clearly if it's discussing an event absolutely everyone can agree is 100% evil, but otoh with the holocaust there's also a danger that it can be filed away as unique to a country and a time, and no greater lesson learned. One thing I felt was that the family seemed very much like an English family of the time, so maybe being a little too critical here, and I'm not sure if I want to batter people with "YOU are capable of this too!" - but it would be a bit more interesting and maybe that's what we need.

This is Dance Anthems, have some respect (Camaraderie at Arms Length), Monday, 22 January 2024 12:21 (four weeks ago) link

Well, I did learn that Nazis were evil people who had families.

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Monday, 22 January 2024 12:48 (four weeks ago) link

xp I agree with a lot of that, however one thing I think the ending shows

with the women cleaning the Auschwitz museum, is that even the realized hope that history will judge monsters accurately can be cold comfort indeed.

Chris L, Monday, 22 January 2024 13:03 (four weeks ago) link

The film is such a (deliberate) closed circle that it didn't leave me with much to think about.

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Monday, 22 January 2024 13:04 (four weeks ago) link

I read about his daughter yesterday, her story raises a lot of questions and would have been a good (if unoriginal) framing device

This is Dance Anthems, have some respect (Camaraderie at Arms Length), Monday, 22 January 2024 13:22 (four weeks ago) link

I felt similarly ambivalent. I appreciated some aesthetic choices more after I read about them (e.g., not to use conventional film lighting), but there's not much of a film beyond the conceptual premise. (Although that, too, is by design, I suppose?) The one line that sticks with me is the horrific observation Hoss makes to Hedy over the phone at the end.

jaymc, Monday, 22 January 2024 13:46 (four weeks ago) link

I liked it a lot. It seems to me like the first film to treat Holocaust as a Historical Event, instead of as lived experience. Or the first film about Holocaust made after the survivors have gotten too old to be the link to the past. As such, it's a bit fumbling and unsure of itself, but also very different.

I don't really think it's about the 'banality of evil', though. The Höss family are just plain evil. I think itt's very obvious with the reaction of the mother how much they've chosen a life as mass murderers.

Frederik B, Monday, 22 January 2024 15:23 (four weeks ago) link

Yes, it's surely a film about the monumental psychic effort - the endless laundry, literal and metaphorical - it takes to try to ignore the noise, smell, touch and taste of industrialised murder. I think the dreamlike, fairytale nightvision scenes justified the film by themselves.

Piedie Gimbel, Monday, 22 January 2024 15:45 (four weeks ago) link

I was wondering how much of this story is based upon true accounts of their life. I found the reaction of Hedy's mother to be one of the more fascinating aspects, and wondered if that was in line with anything that occurred in real life.

There's this robotic uncanny valley aspect, completely inhumane people pretending to be human and going through the motions of a normal family life.

omar little, Monday, 22 January 2024 16:45 (four weeks ago) link

Yes, it's surely a film about the monumental psychic effort - the endless laundry, literal and metaphorical - it takes to try to ignore the noise, smell, touch and taste of industrialised murder.

― Piedie Gimbel, 22. januar 2024 16:45 (three hours ago) bookmarkflaglink

I loved the scene where after he has sex with the girl he has to go to his own secret room in the basement to wash off. Doing wrong is a pain in the ass, takes so much work to hide it. Whether it's something banal like cheating on your wife, or something enormous like murdering 2,5 million people (according to Höss, the rest died of hunger and starvation, so technically he didn't murder them)

Frederik B, Monday, 22 January 2024 19:43 (four weeks ago) link

lol I did not realize Jonathan Glazer did that

I just want one Zone Of Interest trailer to say “from the director of Jamiroquai’s Virtual Insanity…”

— Matthew Schmid (@Holy_Schmid) January 12, 2024

jaymc, Friday, 26 January 2024 05:41 (three weeks ago) link

From one of history's greatest monsters to...

Number None, Friday, 26 January 2024 10:40 (three weeks ago) link

and I'm not sure if I want to batter people with "YOU are capable of this too!" - but it would be a bit more interesting and maybe that's what we need

This film hit me like a brick just earlier, been wandering around in a daze. I'd argue it absolutely does this - or at least, it attacks purblind affluent complacency of all stripes. Huller's creation is almost transcendentally evil. I like that the kids don't get away with it either

imago, Sunday, 28 January 2024 20:51 (three weeks ago) link

I have to be careful not to come across as glib or worse here. The flash-forward near the end was good, the music over the end credits was spooky, and the part where we heard off-screen brutality was effective. But if the message is that Nazis had families, could be soft-spoken, and read to their children at bedtime, I already knew that. I just didn't connect with this as a film. I don't know how it measures up to the novel.

clemenza, Tuesday, 30 January 2024 00:43 (three weeks ago) link

My understanding is that it is a *very* loose adaptation

jaymc, Tuesday, 30 January 2024 00:54 (three weeks ago) link

I'm with clem. It's a film that demands pre-determined reactions.

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Tuesday, 30 January 2024 01:00 (three weeks ago) link

question: were the night vision sequences meant to be dreams (höss keeps finding one of his daughters sleepwalking, talking about giving people sugar, etc) or real (one of the sons overhears someone being put to death because of a fight over an apple, presumably left by the daughter) or meant to be ambiguous

z_tbd, Tuesday, 30 January 2024 04:10 (three weeks ago) link

I think they're meant to be real, although I will freely admit that I did not even understand what was happening in them until I read about the movie afterwards.

jaymc, Tuesday, 30 January 2024 04:25 (three weeks ago) link

I've seen it twice now, the first time I've done that for a new release film since Nope (honorable mention to Godzilla Minus One given the b/w version that's running this week) and for the same reason -- I wanted to hear the sound design again in a theatrical setting. That may sound like a terrible reason to see a film like this again in that setting and yet it is clearly what is meant to succeed about the film to start with.

Ned Raggett, Wednesday, 31 January 2024 21:19 (three weeks ago) link

My review from last month’s uncut fwiw

Directed by Jonathan Glazer
Starring Sandra Hüller, Christian Friedel, Freya Kreutzkam
Opens 2 February
Cert 12a

It’s the early 1940s and a family’s idyll is briefly imperiled: the father is promoted to a better paying job in another city and for a moment it seems like the family will be uprooted. Everyone is distraught and no one wants to leave. Fortunately better sense prevails, disaster is averted and they stay put in their blessed plot. You might recognise the story from Vincente Minnelli and Judy Garland’s Meet Me in St Louis, nominally set in 1903, but filmed in 1944, and a devoutly wished fantasy of hearth and home confected for a nation sundered by war.

It’s also the plot of Jonathan Glazer’s new film about Obersturmbannführer Rudolf Höss and his wife Hedwig, and their cultivation of a charming house and garden next door to Auschwitz, the concentration camp where Rudolf is commander. The zone of interest - Das Interessengebiet - was the Nazis’ term for the restricted area around the camp, a site of much capitalist speculation - but for Glazer it’s also the incomprehensible abyss between the bucolic garden and the gas chamber.

If Glazer’s last film, the starkly stunning Under The Skin, was about the dawning of empathy and fellow feeling, The Zone of Interest is about its steadfast refusal, the concerted attempt to block out reality, even as the stench and squalor of extermination is overwhelming. The film is shot as if by disinterested surveillance cameras, neutrally documenting the family Höss as they potter about cultivating their radishes, frolicking on the banks of the river Sola, endlessly laundering their crisp white bed linen from the infernal soot of the death factory.

Under the Skin was a visionary film, but also an audio miracle, embodied in the warp and woof of Mica Levi’s score. Here the sound design - Levi again, with sound designers Johnnie Burn and Tarm Willers - is the soul of the film. The screams, screech and scrape of Auschwitz seep insidiously into the domestic interiors like spores or smoke, poisoning the picnics and soirees.

Horror is present most profoundly in their dreams. Glazer is as cavalier in his adaptation of Martin Amis’s novel - he takes not much more than the setting and the primary sources - as he was with Michel Faber in his earlier film. But the austere cinematography slips loose of the quotidian in scenes, shot with thermal imaging cameras, following a young girl cycling out of a Grimm fairytale and into the camp at night to secrete food for the starving prisoners. In the luminous inverted nocturne her strange fruit glows like Yeats’s silver apples of the moon, somehow recalling Romanian poet and prison camp survivor Paul Celan’s 1945 death camp threnody ‘Todesfugue’, with its uncanny imagery of the “black milk of daybreak”. It’s a singular, unforgettable image from modern cinema’s most lucid poet of the abyss.

Piedie Gimbel, Wednesday, 31 January 2024 21:22 (three weeks ago) link

xp Even though I was lukewarm on it, I actually find myself wanting to rewatch it as well, now that I have a better understanding of what the movie is up to.

jaymc, Wednesday, 31 January 2024 22:35 (three weeks ago) link

FWIW (though obviously how it is shot is meant to suggest dream/fairy tale experiences at work) the girl distributing the apples is drawn from the experience of a Polish resident who the team interviewed and worked with -- supposedly both her dress and bike her character uses were her own -- and she's one of the three names thanked/memorialized in the end credits as having passed, along with Amis and one other. More on that in this long Glazer interview

Ned Raggett, Wednesday, 31 January 2024 22:50 (three weeks ago) link

found this pretty devastating. the extended black screen intro with the striking score narrows our focus on the sound, the sound of the train engine prefaces the family picking through their victims clothes. the "noise" that soundtracks their daily lives is familiar to us, not its literal sound but its feeling. the cut to the museum obviously brings us back to the present, but so does the sequence of flowers settling on a red bloom that fades to a red screen until we're very aware of the fact that we're sitting in a theater bathed in red light. the horror is so massive as to be incomprehisible, but we can feel the texture of it. by depicting through abscence it avoids the othering and the moralizing that would make it easy to set it aside and it manages to be more than a lesson

karl...arlk...rlka...lkar..., Friday, 2 February 2024 04:10 (two weeks ago) link

Hmm. We saw this tonight, were unpersuaded. We’re big Glazer fans in this house but this didn’t really go anywhere. All of its insights are in the first 5 minutes and then it’s just saying the same thing over and over.

Very well made of course. The things that linger are some of the shots and images. My wife said, “Too much plot,” and I agree. A more impressionistic take would have had the opportunity to convey more imo.

I thought this was more widely known, but when I saw Hüller give a talk on this (and Anatomy of a Fall) at the NYFF last fall, she went into detail about how they shot inside the home of Zone of Interest which sounded marvelous: basically acting or really just being in a real space without anything that was a camera, a microphone or someone who wasn't a character (i.e. a crew member or even a director) to remind one that this was a movie production. Cameras and microphones were hidden and pretty much running all the time so that there wasn't any sense of acting to a camera position or relaxing when you knew you were off-camera. It was interesting and yet at the same time bewildering because it doesn't really feel like it had a profound impact cinematically-speaking. I was kind of wondering if anyone would feel the same way, and it looks like Richard Brody might - he already reviewed the film but he only learned about this aspect of the production today.

This is fascinating, doubly so because the technique is undetectable in the movie.

— Richard Brody (@tnyfrontrow) February 3, 2024

One wonders if Glazer merely put the actors in a position of acting as if they were on stage in a play which doesn't really translate to screen if you're not doing anything like the one-take pageant Russian Ark or the long unbroken takes of Talking to Strangers.

birdistheword, Sunday, 4 February 2024 04:43 (two weeks ago) link

Should add, the crew and director were in the basement where they had monitors set up, so they were there, but out of sight.

birdistheword, Sunday, 4 February 2024 04:49 (two weeks ago) link

Some movies don’t lend themselves to the YouTube movie reviewer template

— Jesse Hawken (@jessehawken) February 3, 2024

papal hotwife (milo z), Monday, 5 February 2024 02:20 (two weeks ago) link

omar little, Monday, 5 February 2024 02:39 (two weeks ago) link

karl’s excellent post comes closest to conveying how i felt about this. i thought there was a lot more to consider than “damn they do be living in comfort while smokestacks next door exhale the smoke of human flesh.” and i think it’s really the nighttime scenes everyone is talk about, like the film trying to crawl out of its monolithic tone, its photonegative where someone is trying to plant fruit in the ash, in contrast with the main cast whose domestic and professional lives are entirely designed around creating more ash. a really beautiful effect that might look “ugly” or “wrong” at first, just as the daytime scenes in the movie are gorgeous but contain no beauty

ivy., Monday, 5 February 2024 03:15 (two weeks ago) link

I don't think I've seen many people comment on the incredibly crisp, precise visual focus of the film yet. As soon as that first river-side image hit the screen I was almost shocked at how intense it was.

Ned Raggett, Monday, 5 February 2024 04:41 (two weeks ago) link

I thought whatever lighting filter he used was very effective. Yeah, those very-Glazer touches were the best parts. Likewise the score. I could have done with a lot more of that. And, I don't know, picked a different family. Rudolf Hess and his wife being evil, banal or otherwise, is just too well-duh.

Likewise the score. I could have done with a lot more of that.

Glazer and Levi apparently had much more of a score for the film prepped but then felt it was better to strip a lot of it back or out entirely. I'm on board with that.

Ned Raggett, Monday, 5 February 2024 04:53 (two weeks ago) link

i liked this a lot. lemme just also say that i don't exactly begrudge anyone who found it boring as it's intentionally trying to provoke that reaction to some degree, so i can't really fault anyone who falls on the other side of the line

that being said, i don't actually agree w/ the idea that we're beyond the banality of evil as far as the holocaust goes. in reality, i think back on how i was taught the holocaust in schools and synagogues, and it wasn't about banality at all -- it was about grotesquely emaciated bodies, piles of corpses, a singularly evil and destructive dictator etc. we were sat down to grimly watch stuff like "the pianist." i was completely taken aback watching 'shoah' a few years ago when confronted by the actual, true banality of that film ... the degree to which the towns that housed concentration camps were -- and that point, still were -- just normal communities except for the one thing happening over there. seeing a random old polish woman explain how you had to take your donkey down that road every day like normal, but also had to hear the sounds of mass extermination, rattled me in a real way. i don't think that 'the zone of interest' is as powerful as that film, largely for obvious reasons, but i do bristle against the idea that "banality of evil" is a shallow well to be drawing from, even/especially as it relates to nazis.

so in that vein, i loved the way the hoss couple are framed as viewing essentially the entire proceedings thru the lens of upward mobility and careerism. part of what makes rudolf's final call home so shocking is that it's the only time in the film where you really hear any passion about his job (murder of jews), and even then it's a tossed off aside to the bigger news of a strategic offensive potentially bearing the family name. the scene where hedwig is taking her mother around the garden, basking in the shower of compliments, and her mother says something like "well, you've really made something of yourself" really stuck w/ me. i found that sort of grounding -- these people were literally having the same conversations as you, mapping their lives along the exact same contours -- to be particularly effective even if i can sit here and say that intuitively i understand that there were mothers who were proud of their children for advancing in the nazi party, and that those children had interior home lives of their own.

i also think setting a tone of "banality" allowed glazer to give real, genuine weight to small bits of the film that otherwise seem to come and go. for instance, the way in which the film raises the concept of how jews tried to save their possessions (the diamond in the toothpaste) made it even more hard to swallow for me. we don't see that discovery take place, the film doesn't even linger on it for a second -- but when you take a step back and think about the jew who really thought he or she was going to be able to smuggle their possessions past the nazis, or even the basic idea that a future existed at auschwitz that lasted longer than 20 minutes, the absolute heartbreaking naivety at the center of that idea... a lesser film would have made a mountain of that moment and been worse off for it, imo. it -- the theft of material goods -- is at once a minor part of the holocaust but also as devastating and disrespectful as mass death in its own way, and i think the film really deftly hits that point, not just w/ the diamond thing but even the way in which hedwig has this whole silent, twisted relationship w/ the half-used lipstick she gets to possess. you see the titillation mixing with the disgust, you see her wrestling w/ her own vanity & ideas of female respectability... there is a lot being said about society and ego in that scene... and then she just chucks the lipstick in her make up drawer and moves on with her day, as does the film itself. the object carries so much meaning but is also meaningless. i think a lesser film is not able to balance the nuance here.

the film is a feast for the eyes as you would absolutely expect from glazer, but i also felt like there was real meaning to the artiness and the opulence this time around, in a similar way to how scorcese venerates and celebrates the opulence of the osage in 'killers of the flower moon.' the bright patterns of the hoss family's wallpaper, the close-up lingering shots of blooming plants ... the meticulousness of glazer's shots & his continual insertion of color, to me, express his love of film but also his empathy for people who had their lives and possessions stolen from them. the beauty that seeps thru the cracks of this film are vestiges of the film's unseen dead, sometimes literally but more often than not metaphorically.

one thing that also felt key to me is that we never see the hoss couple experiencing much if any joy -- even in times of familial happiness we are party to the internal turmoil that is roiling their marriage. when rudolf escapes to the river for peace, his wife hunts him down and they stew silently. when rudolf fucks some random girl all we see is the grim walk down dank hallways to wash dick off. their final conversation in the film ends w/ hedwig essentially saying "your life is a nuisance to me." even when we see them laughing over some old story in bed, we're left w/ the sense that there is something off, that they don't even really share the same sense of humor. they are at once evil but also pitiful... there is never a time where either of them exhales... the film doesn't let them off the hook in this way.

lastly i thought the flip to the auschwitz musuem was really audacious -- suddenly being tossed into a world largely free of the aesthetic concerns of auteur filmmaking felt like plunging into a freezing cold lake, but the more the camera lingered on the mundane work of keeping up the museum the more i felt the burden of history, the unbreakable tethering to the past. just as there was routine work needed to keep auschwitz operational in the 1940s, the same is needed now -- for different purposes, of course, but man the film left me feeling like that was the coldest of comforts.

slob wizard (J0rdan S.), Tuesday, 6 February 2024 21:24 (two weeks ago) link

lastly i thought the flip to the auschwitz musuem was really audacious

First viewing through I was almost brought up short by that cut to what seemed like a distant tunnel opening. It was a quiet bit of weird silent horror.

Ned Raggett, Tuesday, 6 February 2024 21:28 (two weeks ago) link

Some good posts. It's been too many years for me to recall Birth with any clarity, and now that Criterion Channel's got a Glazerthon I'll re-watch it. I do remember Under the Skin well enough; it struck me at the time as high-toned schlock but I may need to give it another shot too. Maybe Glazer and I aren't simpatico.

Anyone watched his new short on the Criterion Channel?

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Tuesday, 6 February 2024 21:57 (two weeks ago) link

I don't really disagree with anything in yr post, Jordan. I think it did all of that, with some originality and intentionality that was suited to the subject matter — I thought the movie was a fair effort, it doesn't trivialize anything, it understands and respects the gravity of its material. I just really didn't feel like it had anything new to say? Again, I think the narrative choice to focus on Rudolf Hess — however lightly fictionalized — just boxes it in. Much more interesting and damning to me would have been similar depictions of other lives, lives a little more removed from actually running the machinery of the Holocaust. I guess what I mean is, of course the Hesses were villains. Rudolf Hess was such a villain that he was convicted at Nuremberg and promptly hanged. But what about people who just lived nearby and worked in shops or factories, who noticed ashes falling on their clothes on the clotheslines or whatever. In a way, I don't think the movie does enough to indict the complicity of the entire society, because it's focused on the obviously evil leadership.

But what about people who just lived nearby and worked in shops or factories, who noticed ashes falling on their clothes on the clotheslines or whatever.

Although set in the years before WWI, Haneke's The White Ribbon iirc explores collective culpability.

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Tuesday, 6 February 2024 22:02 (two weeks ago) link

And I still haven't seen that, becz Haneke mostly annoys me, but maybe I should.

I didn't care for it but give it a shot.

poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Tuesday, 6 February 2024 23:02 (two weeks ago) link

it struck me at the time as high-toned schlock

not sure i get this alfred, nothing about under the skin reads as schlocky to me other than it’s genre fiction or whatever. i think it’s one of the more harrowing and heartbreaking studies of otherness ever made, of longing to be normal but knowing you’ve been made wrong, that your very existence destabilizes and annihilates the “normal” (i’m projecting but it is also very very trans imo). it’s funny, both it and zone of interest are movies about alienation, but zone is observing it through the other end of the telescope, i.e. these are people who have alienated themselves from any human impulse, on purpose, because they want it that way. it will be much harder for me to revisit as a result but in the end it may be the more difficult and impressive work

incidentally under the skin was another instance of glazer gutting the source material to the bare minimum and renovating whatever’s left to his own designs, which is something i generally approve of in adaptations (especially in the zone of interest’s case, not an amis fan)

ivy., Wednesday, 7 February 2024 00:12 (two weeks ago) link

Yeah, I'm with Ivy, I thought "Under the Skin" pretty profound in an original way.

I thought this one was really spooky and disquieting, like a documentary about a haunted house where the ghosts all silently know they have cancer. And yeah, the use of sound and music was incredible. Any good interviews or features on that worth linking?

Josh in Chicago, Thursday, 8 February 2024 20:57 (one week ago) link

I remember hearing that some of the people in under the skin were just random people they loosed scarjo on, so there is a kind of subliminal borat vibe to it that could read as schlocky.

Philip Nunez, Thursday, 8 February 2024 21:13 (one week ago) link

Funny how Berlin school aesthetics have graduated to Oscar bait now. Felt like hoss-era Petzold. Challenging enough in the context of the big release awards films but a weird pastiche. I didn't even learn anything new about the Nazis!

plax (ico), Friday, 9 February 2024 23:31 (one week ago) link

Sandra huller was fun, limping around as an evil haus frau

plax (ico), Friday, 9 February 2024 23:32 (one week ago) link

Thinking about what Tipsy says above about the movie not focusing on the collective complicity of an entire society and I can’t help but note that the movie was made with the full cooperation of the Polish government of the time, which was very right wing and notoriously the official line was to absolve the Polish people from any complicity with the Holocaust.

Anyway saw this last night and found it disturbing but fascinating and adding dittos to the sound design and what was left of Mica Levi’s score. I liked the occasional artsy “ruptures” in the otherwise straightforward style like the dissolve to red midway through the film, and found the ending quite effective. Does Höss have a moment of unease?

(BTW Wikipedia sez Höss was tried by the Polish People’s Republic, not Nuremberg)

B. Amato (Boring, Maryland), Tuesday, 13 February 2024 13:42 (one week ago) link

You are correct. Hess was at Nuremburg, Hoss was tried in Poland. Got my Rudolfs crossed. But Hoss was hanged at Auschwitz either way.

Saw this for a second time today. I pretended it was the first time so I could go to the movies with someone I wanted to go to the movies with. Which isn't exactly making out during Schindler's List, but I suppose that's the first step along that path.

Liked it a bit more the second time. I wouldn't withdraw my original complaint, that it's too-familiar terrain, but maybe that's a little unfair--most art is, and just judged on its own terms, it's very well made. It I were reviewing the film, one line could serve as a good title: "Heil Hitler. Et cetera." The music, during the weird B&W sequences, and again over the end credits--not the same, and in the B&W sequences it's more like electronic noise--is really spooky.

clemenza, Monday, 19 February 2024 22:08 (two days ago) link

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