Jonathan Glazer shows the Holocaust like never before: “We have to recognize ourselves in the perpetrator”

If, as they say, a tracking shot is a moral question, if each shot hides a position before the world and is a political decision, the question rises to an indecipherable dilemma when it comes to representing the unrepresentable. How is the horror of the crimes that the Nazis perpetrated in their concentration camps shown? How to tell the Holocaust? Is it moral to dramatize and reconstruct their deaths? Before this, the same example is always given, that of Claude Lanzmann, who in his masterpiece, Shoah , and in his speeches, argued no. That that evil could only be told from the voice of the authentic victims.

However, Hollywood has typically cared little, if not at all, for Lanzmann's opinion. Every year numerous works arrive that tell stories about the Holocaust. All told from the same point of view, that of the victims. It was Martin Amis who, in his novel The Zone of Interest, turned everything around. Suddenly a fiction was told from the executioners. The focus was not on their crimes, but on their passions and their daily lives. A sentimental triangle with a concentration camp in the background. Perhaps that is why the novel was controversial and many of the author's usual publishers decided not to publish it.

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