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RT Slant_Magazine: For its first 4K UHD package, the Criterion Collection gives David Lynch’s masterpiece MULHOLLAND DRIVE its best home v… 1 week ago However, there’s still a conceit and rhetorical aim in Nemes’ strategy, and because it’s essentially a single ethic/aesthetic assault, it can feel slightly samey and obvious over its near two hour running-time – the subtextual message becomes quite easy to discern within the first 15 minutes, and Nemes doesn’t really elevate his commentary on humanity, mortality or one man’s quest for transcendence from that point on. In some respects, Nemes is right to be filming the holocaust in this way, without the overt aestheticisation of a Schindler’s List for example (there is no non-diegetic music and the narrative sticks steadfastly to Saul’s burrowed mission). It’s not literally filmed in a single take or in real-time, but Nemes’ storytelling mastery approximates that sensibility as we follow Saul through his increasingly fraught journey into the cogs of industrial subordination. The quality of Nemes’ technique infuses the feel of an unspooling nightmare. Has there ever been a film with a more pointed use of depth of focus, as, by following Saul, we’re permitted only flashes or blurred sightings of the canvas of pure horror (whether it be frightened masses being ushered into gas chambers or mass graves, or the litany of dead, naked bodies being heaped up inside the hellish charnels of Auschwitz).
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Saul also has a brave son named Jona·than. As the years go by, Saul leads the Israelites to many victories over their enemies. This makes the people happy that Saul is king. But Saul gathers a big army, and he wins the victory over the Ammon·ites. The camera perpetually hugs the shoulders or gaunt visage of Saul – acting as proxy for Saul’s stunned processing of the tyrannous cavalcade of inhuman degradation that parades around him. Soon after Saul is made king, the Ammon·ites come up to fight against them. Nemes takes the decision to make Saul not only his film’s moral – but also literal – conduit. Review: László Nemes’ formally astringent evocation of the brutal industrial machinery of Nazism and the concentration camps is a technically impressive piece of work, only marginally undone by a certain one-dimensionality of conceit which begins to draw glaring attention to the film’s rhetorical and moral intent. He spies a dead boy who he believes is his son – this leads him on a covert mission to try and find a rabbi who can give his son a proper Jewish burial.
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Synopsis: In the Nazi concentration camp of Auschwitz, Saul (Géza Röhrig) works as a sonderkommando (Nazi minion). Actors: Géza Röhrig, Levente Molnár, Urs Rechn