Review of "Zone of Interest": What the Oscar-winning Holocaust drama turned out to be / ITech content

Contents:

• What happens in the film
• Who created and directed it
• What's special about the film

On May 22, 2025, the film "Zone of Interest" directed by Jonathan Glazer was released in Russian cinemas. The film follows Rudolf Höss, the commandant of the Auschwitz concentration camp, who lives with his family in a house located close to his workplace. His wife enjoys the unusual fertility of her garden, while his children play carefree, sledding and swimming in the river. The film explores the contrast between the family's everyday life and the horrors unfolding nearby, raising important questions about morality and human nature.

In this article, we will discuss how a British director adapted Martin Amis's novel for film and why the film won two Academy Awards. This adaptation captured the attention of audiences and critics alike thanks to its unique approach to the material, which successfully conveyed the key themes and ideas of the original work. We will consider the artistic decisions and techniques used in the film, and their impact on the perception of history.

What happens in the film

The Höss family home resembles other homes of SS officers and their families. It is located near a concentration camp, which allows Rudolf (Christian Friedel) to quickly get to work. On the grounds is the house itself, and next to it is a well-kept garden with flowering plants, a swimming pool, and a cozy veranda. This contrast between everyday life and the surrounding reality emphasizes the atmosphere of the time.

The plot develops gradually and measuredly. The Höss family appears to be typical for an SS officer: the audience observes the daily life of Rudolf, his wife Hedwig (played by Sandra Hüller, known for the film "Anatomy of a Fall") and their children. The Höss house is always kept clean and tidy, thanks to the help of local Poles. Hedwig takes care of the garden herself, only occasionally turning to the gardener, also a local resident.

"Your garden is simply a paradise!" - Hedwig's mother (Imogen Kogge) admires the fertile plot, having come to visit her daughter. However, she does not seem to understand why the plants in the garden grow so quickly and the flowers exude a wonderful fragrance. Next to the Höss family home, a high wall rises, separating this "Garden of Eden" from the concentration camp where horrific beatings and murders of prisoners take place; their bodies are left along the wall. This contrast between the beauty of the garden and the horrors happening outside highlights the absurdity and tragedy of the situation, forcing us to consider the role of nature in conditions of cruelty and fear.

Questions about the husband's work in the house remain off-screen. It is difficult to understand whether the family members are aware of the horror happening behind the wall, whether they feel guilty or reflect on their responsibility. The film has little dialogue, and what dialogue there is concerns everything except the peculiarities of the surrounding reality. Rudolf's attitude toward his work seems typically German: he carries out the Führer's order to "develop the East" with unconditional responsibility and meticulousness, without asking unnecessary questions. The situation will soon change. Rudolf is to be transferred to another camp, which is not a punishment, but recognition of his excellent performance. Hedwig reacts negatively to this news, having spent much time and effort creating her "Garden of Eden" and does not want to leave it. Furthermore, her relationship with her husband has long been stagnant, and she may have an lover.

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Who created and directed it?

Director Jonathan Glazer presents his fourth feature film, "Area of ​​Interest," in a 25-year career. The British filmmaker began his journey in 2000 with his debut, "Sexy Beast," which was selected for screening at the Toronto Film Festival. This crime thriller, starring such stars as Ray Winstone, Ben Kingsley, and Ian McShane, became a real success during the awards season, receiving nominations for prestigious film awards, including a BAFTA and an Oscar. "Zone of Interest" continues Glazer's tradition of creating profound and memorable films that resonate with audiences and critics alike.

Following the successful thriller "Under the Skin," starring Scarlett Johansson as an alien, director Glazer was absent from film festivals and the media for ten years. In 2023, he returned with "Zone of Interest," an adaptation of the novel by renowned British writer Martin Amis. The film had its world premiere at the Cannes Film Festival, where it attracted the attention of both critics and audiences.

Amis's book received high praise upon its release in the UK and was compared to other well-known works on the Holocaust theme, such as Jonathan Littell's The Kindly Ones and John Boyne's The Boy in the Striped Pyjamas. Interestingly, the German publisher that had previously published Amis's novels refused to work with The Zone of Interest, which forced the author to look for a new publisher in Germany. This fact underscores the complexity of perception of the Holocaust topic and the importance of literary discourse around it.

This film is the first in Glazer's career for which he wrote the screenplay himself. In his previous projects, the director always collaborated with co-writers, and the screenplay for Sexy Beast was written without his participation. It cannot be claimed that the film is a literal adaptation of Amis's work. It draws on the novel's plot elements and concept, but develops as an independent work, allowing itself certain liberties.

Zone of Interest premiered at the 2023 Cannes Film Festival, where it won the Grand Prix of the Jury and the FIPRESCI (International Federation of Film Critics) award. This successful debut confirmed the high praise of film critics and audiences, and also strengthened the film's position in the world of contemporary cinema.

During the 2023-2024 awards season, the film attracted significant attention, winning three BAFTA prizes: Best Sound, Best British Film, and Best Foreign Language Film. At the Oscars, the film also won awards for Best Sound and Best Foreign Language Film. The European Film Academy particularly noted the high quality of the film's sound, which underscores its significance in world cinema.

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What is remarkable about the film

The soundtrack of the film "Area of ​​Interest" is unique and has deservedly received numerous awards. Glazer begins the film with a piercing, uncomfortable melody, which is a sharp contrast to the usual complex visual productions characteristic of his previous works. This musical foundation creates an atmosphere of tension and evokes deep emotions in the viewer, which emphasizes the overall concept of the film.

The screen plunges into black, and in the background a monotonous overture conveys the suffering of concentration camp prisoners. Although we won't see this pain on camera, the viewer should hear and remember it.

The camerawork by Lukasz Żal, who worked on Charlie Kaufman's virtuoso drama I'm Thinking of Ending Things, remains largely static. The cameraman doesn't follow the characters' movements, but creates compositions that symbolically convey deep layers of meaning that go beyond the visual. This approach allows for a deeper perception of the plot and reveals the characters' inner worlds through carefully selected shots.

Rudolf sits on the porch and smokes, while a fiery cloud rises from the concentration camp chimney on the horizon. The commandant nervously turns away from the spectacle. His reaction raises questions: is he disgusted by what is happening, or is he adhering to the principle "work stays at work"? There is no answer, but the image leaves room for interpretation.

In limited dialogue, the characters delve deeper into philosophical and ethical reflections, sometimes expanding, sometimes narrowing the boundaries of what is permitted. The director masterfully creates a cinematic space in which horrific elements are harmoniously combined with a superficial beauty that is not an illusion. This contrast intensifies perception and forces the viewer to consider the moral dilemmas raised in the film.

The boundary between this world and the next is represented by a fence. However, the director abounds in geometric shapes, which can be seen on screen. Rectangular corridors of buildings, neatly arranged rows of camp barracks, and the "gaze of God" at a secular Nazi gathering create an atmosphere of strict order and structure. These visual elements highlight the contrast between the chaos of life and the ordered aesthetic, which enhances the impact of the work.

The film "Zone of Interest" lacks a traditional plot. For nearly two hours, the viewer witnesses a variety of scenes from the lives of the Höss family and their surroundings. What initially seems unified gradually begins to separate and distance itself as the characters confront the terrible reality that lies on the other side of the wall. This approach creates a deeply immersive atmosphere, emphasizing the contrast between everyday life and historical events.

Hedwig's mother, while spending the night in the house, smells a sharp smell of smoke in the air. Unable to bear this terrible circumstance, she leaves the story without saying goodbye.

While bathing in the river, Rudolf's children are unaware of the ashes clinging to their bodies. Probably due to an oversight by the camp staff, the remains of recently burned bodies end up in the water. The maids rush to clean the "true Aryans" in a snow-white bathtub that, apparently, has never seen such "filth." This disturbing event highlights the horrific realities the children face and calls into question the moral aspects of what is happening."Zone of Interest" is a film that masterfully conveys the atmosphere of horror associated with the concept of a concentration camp. The film avoids overt methods and explicit images, allowing for a deeper understanding of the complexity and tragedy of the subject. Through carefully chosen sequences, the filmmakers create a powerful emotional resonance, leaving the viewer with important reflections on human nature and the consequences of cruelty.

Sound design plays a key role in the perception of events by both the audience and the Höss family. It conveys the swearing of camp workers, the sounds of gunshots and the clanging of shovels used to bury bodies. These sounds—human voices, the sound of weapons and tools, and the sounds of decaying nature—create an atmosphere that not only immerses you in the action but also compels you to empathize with those outside the frame. The sound palette heightens the emotional weight of the scene and makes the audience comprehend the full gravity of what is happening.

It would be wrong to consider "Zone of Interest" a pioneer in any field. However, the most famous works on this topic, such as "Son of Saul," "Shoah," "Life is Beautiful," and others, focus on perceiving tragedy through the eyes of the victim. These films and paintings deeply touch on the emotional aspects of human suffering and emphasize the importance of personal history in the context of historical events.

Jonathan Glazer, like Steven Spielberg in "Schindler's List," strives to present events from the perspective of war criminals. For Rudolph, this is apparently just a job and a chance to realize his career aspirations. In this context, the lack of personal and human element in his actions is emphasized.

"Zone of Interest" is a significant work that evokes discomfort in today's context, yet remains essential for understanding human nature. It raises uncomfortable questions of conscience, guilt, and responsibility that remain relevant today. People striving to preserve their version of the "Garden of Eden" are encountered both 80 years ago and today. This work provokes reflection on moral dilemmas and how history repeats itself, emphasizing the importance of being aware of one's actions and their consequences.

For people outside the familiar world, there is always a sense of alienation, filled with hatred, envy, and fear. This is not an artistic reconstruction of the Holocaust, but a profound exploration of the nature of evil, its everydayness and ordinariness. Glazer argues that to create true horror, it is not necessary to display it openly; it is enough to establish an atmosphere of detachment, emptiness, and silence. This highlights how easily evil can creep into everyday life undetected, and how important it is to be aware of its presence in our surroundings.

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