Zone of Interest Vs. Oppenheimer
Two British filmmakers with command of the medium ventured into the territory of World War II from chillingly oblique angles.
They raise tough questions about culpability, deniability, filmic representations of violence, and the director’s own responsibility.
How much to show?
How much to imply?
t’s a question that Jonathan Glazer ponders in “The Zone of Interest,” his pared-to-the-bone drama set in the damning shadow of Auschwitz.
A machinery of mass death is ruthlessly implemented, and a commander realizes, with a blank stare into the void, the crucial role, responsibility, and function he has played in its devising.
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