La zona de interés

  • Estados Unidos The Zone of Interest (más)
Tráiler 4

Sinopsis(1)

El comandante de Auschwitz Rudolf Höss y su esposa Hedwig se esfuerzan en construir una vida de ensueño para su familia en una casa con jardín cerca del campo de prisioneros. (Wanda Visión)

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Tráiler 4

Reseñas (9)

POMO 

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español Jonathan Glazer vuelve a ser fuertemente autoral y artístico. En la película no vemos a un solo prisionero de Auschwitz ni a la monstruosidad cometida tras los muros del campo. Los acontecimientos son escenificados de manera minimalista pero arreglados de manera efectiva, teniendo lugar dentro de la villa Höss y en su jardín, bordeado por ese muro sobre el que se elevan los techos de los barracones del campo de concentración. Höss va regularmente al "trabajo" y pasa su tiempo libre con su familia. La esposa de Höss disfruta de las flores del jardín. Sus hijos están jugando por la piscina. Ocasionalmente, Höss recibe una visita de trabajo, por ejemplo, de ingenieros con un proyecto para hornos de incineración más eficientes. A veces, alguien les trae una bolsa con ropa bonita para que se la repartan... Todo el tiempo escuchamos a lo lejos el rugir de la maquinaria de la fábrica de la muerte, a veces a gente gritando, a perros ladrando, disparos. Hay nubes negras de ceniza en el cielo. La percepción de los niños Höss del mundo fuera del barracón tampoco se olvida en pequeños matices. Los sueños nocturnos de la niña en imágenes invertidas en blanco y negro son el más impresionante de los ornamentos artísticos con los que se atiborra la película para la máxima satisfacción del público del festival. La escena con Höss en la escalera con los oscuros pasillos vacíos es genial. Para mí, es lo mejor de la película. Nos muestra el Holocausto de una manera diferente, con la música de créditos finales más desagradable que jamás hayas experimentado. Jonathan Glazer se une a la compañía de maestros como Michael Haneke y Yorgos Lanthimos. [Cannes FF] ()

Marigold 

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inglés Scenes from National Socialist married life and a film whose concept is drawn so tight that it left me feeling oddly indifferent. The idea of transforming a death factory into a 2D backdrop, which Łukasz Żal’s camera literally pushes through the depth of field to the Hösses’ “garden of paradise” is suffocating and oppressive, but it also leads to a certain monotony and risks making the viewer get used to it just as the characters get used to the ubiquitous stench, screaming and moaning. The central couple cannot be humanised to a sufficient extent to form a psychological counterpoint to the horrors of the Holocaust, so I found that there was something mechanical in the Hösses’ routines that made it easier for me to disconnect from the urgency of Glazer’s world. The banality of evil is precisely and literally illustrated. I was reminded of Markus Schleinzer’s similarly conceived and distanced film Michael, which, however, started to be truly impressive at the moment when the character of the blasé paedophile rapist gets an adversary in the form of the victim in a powerful reverse shot. Glazer chooses a similar principle at the end, but in doing so, he breaks the fourth wall in a way that has more intellectual calculation than natural power. Was Höss aware of the moral implications of his actions or was he able to conceal them in the rhetoric of industrial production and historical necessity? This is where the possibilities of Glazer’s film reach their limit. In the ever-powerful deluge of “Holocaust porn”, The Zone of Interest is important for its differentness and its courage to change the perspective, to expose the viewer to the “cognitive dissonance” experienced by the direct perpetrators of evil. It is also an interesting reflection on the central ideological concept of Lebensraum, which in the portrayal of Frau Höss takes the form of a neat garden fertilised with the ashes of the dead. Nevertheless, I enjoy reflecting on the film from a distance significantly more than experiencing it directly on the screen. In that respect, I give preference to the concept of Son of Saul…and to reading the immensely monstrous The Kindly Ones, which went much deeper into the psyches of the architects of the Holocaust than The Zone of Interest. ()

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Lima 

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inglés Such is the daily routine of a family of ordinary, decent citizens. They grow kohlrabi and carnations in the garden, keep the house in perfect order, pet the dog and frolic in the swimming pool, and all this is provided by the head of the family, who goes to work every day in an exemplary manner and who - by the way - is the director of the most monstrous concentration camp. He is, again by the way, at work dealing with, for example, the more efficient incineration of Jews in ovens, and does it with the same emotional involvement as when you and your wife are deciding what to buy for dinner at the supermarket. And behind the walls of this middle-class family's property, behind those ominous walls, is a human-scale Mordor where the most monstrous acts against humanity are taking place, and you feel an immense oppression thanks to the ingenious sound work and the ominous visual details in the distance, such as the smoke from the ovens, or from the locomotives bringing in more and more human fuel. The film doesn't shove down your throat horrific imagery about how monstrous the Holocaust is, it does it on a subliminal basis, working with your subconscious, and that actually makes it all the worse. It made me sick, but at the same time I bow down to Jonathan Glazer for this bold cinematic experiment that says more about us humans than you'd expect. ()

EvilPhoEniX 

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inglés Zone of disinterest. One of those films that the teacher puts on in history class, but 80% of the students would rather pull out their cell phones and scroll through Instagram because it's almost as boring as regular class. The film is completely empty in terms of information, so it doesn't even serve an educational purpose. We follow the banalities of the daily life of a concentration camp commander and his family. We learn nothing about the characters, the dialogues are cut down to the minimum, Auschwitz is not shown, so again a film for book readers, where the viewer has to figure everything out (fck you!!), it has no script, the atmosphere doesn't work at all, there’s no build-up, no tension or escalated drama between the Nazis, the emotions below zero, and in the end, instead of showing a pile of corpses, they show only shoes. The film is so empty, slow and boring that even if you skips twenty minutes, you won’t miss anything crucial. Son of Saul was thematically similar, but somewhere else. An intimate arthouse of the highest order. 3/10. ()

MrHlad 

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inglés I have a bit of a complicated relationship with director Jonathan Glazer. I like some of his films a lot, others practically not at all, and I'm glad Zone of Interest falls into the former group. I'm also happy that it ended up looking a little different than I expected. Glazer's Holocaust drama is very much built on working with sounds, but mostly with the viewers and their knowledge. You have to know what family you're looking at all the time, who Rudolf Höss was and what atrocities he committed. Zone of Interest doesn't explain anything, you could say that we learn practically nothing about the protagonists, because there's no need to, and Glazer is counting on you paying attention in history class, or at least reading the synopsis before entering the cinema. This allows him to focus solely on establishing atmosphere, combining hints of the horrors happening behind the walls of the family home while showing the ordinary little Nazi domestic bliss of the Hösses and their children. They come across as extremely ordinary, and that they are cynics and human monsters is something you have to surmise from their actions, as they balefully ignore the hell they themselves have unleashed or are willingly profiting from. Perhaps my only complaint is that I would have expected Zone of Interest to make it a little harder (like, say, the new Scorsese) and more uncomfortable for me as a viewer. On the other hand, Glazer's attempt to merely chronicle the family life of two monsters who tend a greenhouse, organize family get-togethers in the garden, and invite a loving mother to their home, only to occasionally subtly remind us who we're actually dealing with, works well too. An original and compelling drama capable of being very uncomfortable at the right moments. ()

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