‘The Zone of Interest’ is gripping, awful, and terribly necessary. “Glazer’s prowess is impossible to deny,” writes rilaws.
’s keening, groaning score plays over a black screen for far longer than is comfortable. It feels as if we are descending to somewhere, quite possibly hell.
Rudolf is also overseeing the extermination of millions of Jewish people, just past the garden walls. The film only ventures into the camp for one brief shot. Otherwise, we are given only suggestions of the horror: guard dogs barking, occasional gunshots, the roar of a chimney which can be seen looming in the distance, belching fire and smoke and ash as the bodies of murdered prisoners are burned.
But perhaps his nerviest choice is to play so much of the film straight, calmly filmed and full of the petty concerns of contented family life. One could argue, I suppose, that Glazer makes his point early and then keeps hitting the same note.
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