Here we go again, Glazer's introductory black screen again, so right from the start it will be another film of his where the main sense put into operation will not be mainly sight but rather hearing. In fact, shortly thereafter we will understand that the constant annoying noise in the background is none other than the new incinerator, self-cooling and efficient. We hear the incessant crying of a newborn who lacks the healthy affection of a mother who is too busy choosing a heating system suitable for the cold Nordic winter, the best furs, perfumes, finding hidden diamonds. She wants to go to Italy, to that SPA, now she is a classy woman, an important woman, she is the queen of Auschwitz, that's what Rudy calls her while she cheats with poisonous blood and while together with her children she suffers burns caused by a strange ash transported in large quantities from the idyllic river, where on its quiet banks you can relax, fish and sunbathe. We could continue endlessly in this absurd juxtaposition of an atrocious historical moment for humanity and we also sense that this constant absurdity is inherent in that sequel. Another train has arrived, we hear some shots, dogs barking, soldiers shouting at anguished people, we feel their suffering penetrating our soul, other shots while the screen has now turned red. Grimm's fairy tales, letters from prisoners that pierce the spirit, a surreal black and white negative shows little Brigitte, subterfuge, spreading sweets in the work camps on nights with flashes similar to Dante's infernos. I find the correct choice to tell this horror by giving priority to the auditory background since no cinematic image will ever be able to define and give justice to the reality that happened there, to the over 5 million people who unfortunately passed through there, just a stone's throw away, beyond the wall of the little family's flower garden genetically perfect... Thanks Glazer. Unforgettable.
Review of The Zone of Interest
