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![]() ![]() Right away, we know we’re in the hands of a director who wants to tell the story of the Holocaust from a different perspective than we’ve seen before in films: a more personal, intimate one. The suggestion of the suffering is more unsettling than wallowing in it. The horror remains in the periphery, a blur, but it’s unmistakable: the pounding and screaming from behind the metal doors, the naked and lifeless limbs being dragged across the concrete floor once the doors have reopened. Nemes stays close, showing us only what Saul sees, photographing him from the back or the side, Dardennes-style, as he walks purposefully toward each destination. |
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