The Zone of Interest (dir. Jonathan Glazer) is a historical drama loosely based on the 2014 novel of the same title by Martin Amis, depicting the Holocaust with emotional intensity – especially due to the way it chooses to present the topic through the lens of “mundane evil” at the hands of the Nazis, rather than being a direct depiction of the violent horrors of the Shoah.  

The film first entered cinema discourse due to the mystery surrounding its pre-release. After premiering at the Cannes Film Festival, where it was awarded the Grand Prix and FIPRESCI prizes, The Zone of Interest has been purposely shrouded in mystery for several months. The film’s contents were largely kept from the public, with only a limited amount of photos and snippets being published before release. The only details revealed were its setting: the Höss family’s residency in Auschwitz during World War II. The mystery proved effective – soon after premiering in America and Europe, several nominations followed its release, among them the BAFTAS, Golden Globes, and even the Oscars. 

While The Zone of Interest has been praised for its style, the way it portrays the high-ranking Nazi Höss family during World War II has caused controversy. Despite its intentions, the film can lead the audience to humanize the notorious Nazi family whose life it depicts. Is this a film that should be praised for the messaging, or condemned for the ethics of the production behind it? 

Jonathan Glazer has revealed in several interviews that his main goal while making the film was to not glorify the trauma of survivors and victims of World War II. The film intentionally does not include any graphic scenes or images of individuals in Auschwitz, choosing to focus on the idyllic Höss residency neighboring the concentration camp. It includes shots of flowers, rivers, children playing, even beautiful sunny days. Hedwig Höss (Sandra Hüller) describes her lifestyle as idyllic in several scenes. However, this idyll is nothing if not superficial, as the family’s peaceful existence contrasts sharply with the events surrounding them, both physically and chronologically. Glazer juxtaposes the horrors of Auschwitz with the mundanity of the Höss family’s day-to-day life. In several shots, the audience witnesses the camp and its trains in the background, reminding them of the true reality of the situation. This approach towards the topic at hand is effective in relaying Glazer’s vision, as the director defends his choice to show the Höss family’s “mundane” lifestyle (almost giving them a sense of humanity), as, after all, even the worst of us need to raise children, clean homes, and enjoy activities. Glazer wanted to portray the horrors of the camp and the ruthlessness of Rudolf Höss and the Nazi Party through the Höss family’s averageness. This juxtaposition of the absolute horror of the Holocaust and banal mundanity was jarring for many viewers, with several reviews of the film describing the portrayal of the Hösses’ beautiful life as “disgusting” (IndieWire’s Filmmaker Toolkit Podcast, 2024); after all, how could the reviewer accept that the Nazis had such similar lives to theirs? 

Sound design plays an integral role in The Zone of Interest. The director claimed so himself: “sound is the most important aspect of the film”. Like many elements of the film, the score, composed by Mica Levi, plays into the dissonance between the lavish parties, laughing children and gorgeous weather and the horrors next door, reaching its climax as the horrors intensify. Following classic playwrights, Glazer uses sounds to portray off-screen murders rather than show them happen. For many viewers, this may have a more emotional impact than mere witnessing of the sound effects. The director’s choice to end the film with a black screen overlaying Levi’s composition leaves the audience gut-wrenched as the credits roll. 

Much like the soundtrack, the film’s cinematography and camerawork (long shots, tracking shots) work to reveal the dissonance between the everyday life of the Höss family and the reality of Jews in Auschwitz. A powerful example of the use of cinematography to this effect is when Hedwig Höss tries on a fur coat in her room. The scene itself can, at first, be perceived as uneventful; however, it changes in the audience’s eyes as it is revealed that the fur coat used to belong to a Jewish woman. Rudolf Höss (Christian Friedel) is shown in his office as it is revealed that he is partaking in the development of  “The Final Solution”. These scenes are significant as it gives the audience a glimpse of Höss’s work and hammer home the evil impact he had during World War II. 

The use of thermal imaging, as well as of coloured images, are an unconventional style Jonathan Glazer and cinematographer Lukasz Zal incorporate within the Zone of Interest. While the film focuses on the life of the Höss family, the plot incorporates a story of a young Polish girl from Auschwitz who smuggles apples into the camp during the night, and this is shown through thermal imaging. Coloured images are also used evocatively within the film, especially those of the Höss family enjoying their life. The audience witnesses frozen frames of colors, such as gray and red, with nothing but the jarring soundtrack in the background. It is unsure why Glazer and Zal incorporate this technique, but it can be assumed that it is a check-in point for the viewer to not fall for the illusion of the Höss family’s idyllic lifestyle. These avant-garde techniques are a unique choice, used effectively to enhance the ambience of the film the director is going for. 

The Zone of Interest is ambitious in its one-of-a-kind technical execution, standing out in the realm of Holocaust films through the impactful use of sound effects and cinematography which disturb the viewer and encourage critical thinking. Due to its setting’s gravity, the film should be watched with caution in mind. However, this film is incredibly relevant today, as it is a reminder of the privileges many individuals have in first-class society, and how oblivious and ignorant people can be to war. While there have been many outstanding films made this past year, The Zone of Interest may be one of the most impactful ones. I personally believe that it stands a chance at winning Best Picture at the Academy Awards due to its relevant messaging and the extent to which it made me reflect on the current conflicts in the world. The Zone of Interest will be a film that I will remember for the rest of my life. 

WORDS: Lily Ainsley