With the horrors of Auschwitz audibly playing out on the periphery, The Zone of Interest paints a unique portrait of life during the Holocaust, but the director mucks it all up with a ghastly and pointlessly artsy aesthetic.
United States/United Kingdom/Poland
3*
Director:
Jonathan Glazer
Screenwriter:
Jonathan Glazer
Director of Photography:
Łukasz Żal
Running time: 105 minutes
Roger Ebert once wrote that “if nothing has happened by the end of the first reel, nothing is going to happen”. That certainly holds true for Jonathan Glazer’s austere Auschwitz drama, entitled The Zone of Interest, which finds itself teetering between a bloodless horror film and a historical art installation. It includes many a scene or shot that lingers far beyond what it merits while revealing little to nothing at all.
Following the most basic of opening credits, the white title emerges on a black screen in a silly font that calls to mind some horror-inspired WordArt, accompanied by eerie sounds that border on comedic. As the title slowly fades and ultimately vanishes into the black screen (presumably a very gross visual representation of the millions of Jews turned to ash inside the crematoriums at Auschwitz), we anticipate a cut. But none comes. Instead, we are left staring at a black screen that probably only lasts a minute or two, though it feels much longer. When we finally encounter an actual diegetic scene, we see a group of people picnicking among lush greenery next to a river. Again, we remain at a distance, waiting an uncomfortably long time for a cut.
We are not introduced to these characters, and can barely see them, as the camera makes no effort to present them to us. Their actions lack both interest and significance, a trend that persists as the movie meanders through its nearly two-hour runtime set against the backdrop of Nazi-occupied Poland’s most infamous locale. Occasionally, Glazer opts for artistic detours that alienate more than they enchant. These include using thermal night vision to craft unsettling visuals of a young girl distributing apples in the countryside – presumably to offer sustenance to prisoners labouring outside the camp walls during daytime, although these scenes don’t go anywhere and add nothing except some colour (in black in white) to the narrative. Moreover, the director experiments with auditory elements, presenting blank screens overlaid with sounds that swing between the ominously bizarre and the comically absurd, reminiscent of a frog belching in bass or a cat being strangled.
The primary zone of interest is the house where Rudolf Höss, the commandant at the Auschwitz concentration camp, lives with his wife, Hedwig, and their two sons, two daughters and a baby. What’s intriguing about the house, and the main reason the film exists, is its proximity to the camp. With a vast flower bed full of dahlias, sunflowers and marigolds, as well as an admirable vegetable garden, the property shares a wall with the extermination camp, and it is close enough to hear what is happening on the other side of the wall.
The scenes at the family home are a mixed bag. The mere proximity of Auschwitz and the audible yet always unseen terror imbue every moment at the Höss home with an undercurrent of tension, despite the seemingly eternal summer weather. Yet, at the same time, Glazer, who also wrote the screenplay, fails to create much drama in these scenes. Life at the Germans’ home is carefree but dull. There is very little to maintain our interest, and many a scene leaves the viewer questioning its inclusion at all.
The only real drama unfolds with Höss’s imminent reassignment to Oranienburg. He has learnt about this but hesitates to inform Hedwig. His wife has dedicated three years to transforming their house into a home, notably commanding Auschwitz prisoners loaned out for labour to fulfil her demands on the property. She also relishes her nickname as the “Queen of Auschwitz”. At home, Höss feels particularly vulnerable, and his high-pitched voice and somewhat effeminate demeanour (despite, or perhaps because of, his undercut hairstyle) weaken his position further. This makes him hesitant to share the news with Hedwig. When he eventually does, her aggressive emotional breakdown confirms his fears were justified.
Hedwig, portrayed by the remarkable Sandra Hüller, embodies a chilling blend of banality and malevolence. Her plain appearance conceals a deep-seated cruelty. Early in the film, she nonchalantly distributes silk panties, plundered from Jewish women, to her maids, while she herself has obtained a giant fur coat with red lipstick in the coat pocket. Neither of the items can work miracles on her bland look, however. Her power over the Jewish labourers in her home enables her sudden shifts to vileness, culminating in a disturbing remark that leaves viewers aghast, wishing upon her the very atrocities her husband perpetrates at Auschwitz.
The rest of the time, however, echoing Hannah Arendt’s famous notion of the “banality of evil”, we observe life proceeding as usual on the family’s side of the wall, with no acknowledgment of the persistent gunshots, blood-curdling screams or plumes of ash rising from the towering chimneys. Most poignantly, people being cremated alive is described with clinical, emotionless precision, while Höss sends dictation after dictation about mundane issues. This is not the life of someone tormented by the genocide he supervises and implements.
And yet, there are glimmers of complexity. While the film thankfully never tries to portray any of the Germans as having genuine concerns about the misery or torture they are inflicting or allowing to be inflicted on the Jews in and around the house, there are hints that these are flesh-and-blood people with flickers of innate humanity that are being suppressed by their decisions to behave in this abominable manner. One is Hedwig’s mother, who arrives for a short visit, and although she is full of praise for and evidently proud of daughter, she also witnesses the giant red flames at night and hears the screams, leading her to a fateful yet understated decision. Even Höss himself, who seems ill at ease in many a social situation, appears to show an inherent and uncontrollable repulsion (one that manifests in an unforgettable, physical way towards the end) to the mass extermination, although he keeps lunging straight into darkness.
The contrast between the banality in the foreground and the horror in the background is silent but shocking. Every time we see fragments of the Auschwitz camp, its watchtower, its row upon row of tightly packed multi-story prison buildings, it is impossible for our imagination not conjure the worst possible images of what is happening, even as we are never shown a single thing inside the camp while it is operated by the Nazis. But the ever-present clouds of human remains spread everywhere, and there is some solace to be taken that all of this eventually did come to an end.
In its closing frames, The Zone of Interest aims to cast a fresh perspective on the enthusiastic complicity of Germans in the atrocities of the Second World War yet finds itself caught in a web of stylistic excess that detracts from the depth of drama it seeks to portray, especially within the domestic sphere of the Höss family. The concluding sequences, set against the grim backdrop of Berlin’s bureaucratic machinery orchestrating the mass deportation of Hungarian Jews, resort to fish-eye aerial shots that aspire to a godlike surveillance of the unfolding horror, a technique that comes across as both superficial and awkwardly incorporated into the overarching narrative. This emphasis on aesthetic over narrative substance, a hallmark of Glazer’s directorial approach, serves more to obscure than illuminate the film’s core themes, diluting its capacity to engage and disturb its audience.
Despite its bold attempt to navigate the Holocaust’s peripheries with an unyielding gaze, the film ultimately falters, presenting a fragmented tale that fails to resonate on an emotional level. The goal of balancing visual innovation with the monumental scale of its historical subject matter ends in a dissonance that leaves viewers more alienated than enlightened, rendering the film a lamentable venture into Holocaust cinema, its potential dimmed by an overzealous commitment to form at the expense of impactful storytelling, mirroring the disquieting aloofness of its protagonists and falling markedly short of its ambitious goal to make a significant contribution to the narrative of one of history’s bleakest periods.