Jonathan Glazer’s austere Holocaust film offers a cold and unrelenting glimpse into the life of Auschwitz’s commandant and the domestic rhythms that allowed him to ignore what was really happening.
During World War II, the Germans designated the area surrounding Auschwitz the “zone of interest.” The dullness of the phrase was intentional, another euphemism as operative as “concentration camp.” In Jonathan Glazer’s sorta adaptation of Martin Amis’ eponymous novel, this self-delusion is on display. Hedwig Höss runs a stately home. She raises her children, bosses maids around, and tends to the garden. Their house is on a plot beside Auschwitz.
It’s a film rife with innovations — not just the inspired casting of Johansson but also that Glazer filmed the pickup scenes with hidden cameras, capturing one of Hollywood’s most recognizable stars flirting with real-life, unsuspecting Scots. Like Under the Skin, Glazer’s camera work here is meticulous and moody, aided by the careful eye of cinematographer Łukasz Żal, best known for his stunning work with Polish director Pawel Pawlikowski .
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