Il comandante di Auschwitz, Rudolf Höss, e sua moglie Hedwig, si sforzano di costruire una vita da sogno per la loro famiglia in una casa e in un giardino vicino al campo.Il comandante di Auschwitz, Rudolf Höss, e sua moglie Hedwig, si sforzano di costruire una vita da sogno per la loro famiglia in una casa e in un giardino vicino al campo.Il comandante di Auschwitz, Rudolf Höss, e sua moglie Hedwig, si sforzano di costruire una vita da sogno per la loro famiglia in una casa e in un giardino vicino al campo.
- Vincitore di 2 Oscar
- 58 vittorie e 162 candidature totali
Slava the Dog
- Dilla
- (as Slava)
Trama
Lo sapevi?
- QuizHedwig tells her friends she got a coat from "Canada," mocking another woman who thought she meant the country. Kanada was the name given to Auschwitz's vast storehouse of goods confiscated from the prisoners.
- BlooperIn the film, Höss' birthday celebration appears to happen during the summer. Hoss was actually born on November 25. Flowers would not be blooming in November, nor would anyone be swimming outdoors.
- Citazioni
Hedwig Höss: I could have my husband spread your ashes across the fields of Babice.
- Curiosità sui creditiAfter the opening title card fades, the screen stays black for over two minutes
- ConnessioniFeatured in 2024 EE BAFTA Film Awards (2024)
- Colonne sonoreChinesische Straßenserenade
Written by Ludwig Seide
Performed by students from the University of Michigan School of Music, Theatre & Dance
Conducted by Oriol Sans
Arranged by Members of the Auschwitz I Men's Orchestra
Licensed with kind permission of Richard Birnbach GmbH & Co. KG & University of Michigan School of Music, Theatre & Dance
Recensione in evidenza
The Zone of Interest takes a unique angle in approaching the Holocaust. Certainly an angle I haven't seen before in a film. This different approach gives the film a really sinister quality that frames the evils of the Holocaust in a new and terrifying way.
It achieves this approach through stark juxtaposition. It compares the relatively banal, matter-of-fact homemaking of the Hoss family against the utterly horrendous tragedy being perpetrated just over their garden wall. By doing this, it is not an overly graphic or in your face film. Instead, the violence and evil is primarily heard and not seen, as the horrifying sounds of the camp constantly bleed into the Hoss family home. It is in this way that the film makes its mark. To have such tragedy and horror ignored by this family and their guests. To normalise the mass murder over the garden wall. The glib and matter of fact way it is treated by them all. That is where the horror lies.
Whilst this is all a very effective way of framing the horrors of the Holocaust, I do think this film lacks any storytelling merit. There is no real plot to speak of, so once the point the film is making has been made it is easy to want it to be over so as not to sit with these evil characters and horrendous events for too long.
Then again it is a tricky point because I think this is definitely a story worth telling. Looking at the Holocaust from this angle to understand how normalised it became to certain people is vital to reflect on, but I'm not sure if a feature film was necessary to convey this.
So overall, I thoroughly appreciate what this film was doing and the angle it took. The direction is class in creating this juxtaposition and drilling this point home, but beyond it's core message there is nothing in this film to get stuck into. No real plot. No characters you want to understand or connect with. As a result it feels like it overextended itself as a film, but delivers it's message nonetheless.
It achieves this approach through stark juxtaposition. It compares the relatively banal, matter-of-fact homemaking of the Hoss family against the utterly horrendous tragedy being perpetrated just over their garden wall. By doing this, it is not an overly graphic or in your face film. Instead, the violence and evil is primarily heard and not seen, as the horrifying sounds of the camp constantly bleed into the Hoss family home. It is in this way that the film makes its mark. To have such tragedy and horror ignored by this family and their guests. To normalise the mass murder over the garden wall. The glib and matter of fact way it is treated by them all. That is where the horror lies.
Whilst this is all a very effective way of framing the horrors of the Holocaust, I do think this film lacks any storytelling merit. There is no real plot to speak of, so once the point the film is making has been made it is easy to want it to be over so as not to sit with these evil characters and horrendous events for too long.
Then again it is a tricky point because I think this is definitely a story worth telling. Looking at the Holocaust from this angle to understand how normalised it became to certain people is vital to reflect on, but I'm not sure if a feature film was necessary to convey this.
So overall, I thoroughly appreciate what this film was doing and the angle it took. The direction is class in creating this juxtaposition and drilling this point home, but beyond it's core message there is nothing in this film to get stuck into. No real plot. No characters you want to understand or connect with. As a result it feels like it overextended itself as a film, but delivers it's message nonetheless.
- ethanbresnett
- 28 gen 2024
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Dettagli
- Data di uscita
- Paesi di origine
- Siti ufficiali
- Lingue
- Celebre anche come
- Zona de interés
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 15.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 8.659.464 USD
- Lordo in tutto il mondo
- 52.798.026 USD
- Tempo di esecuzione1 ora 45 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.78 : 1
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