On February 28, 2025, the César Award for Best Foreign Film was awarded to La Zone d'Intérêt, directed by the British-Jewish filmmaker Jonathan Glazer. Though he could not attend the ceremony, Glazer had a message read, emphasizing the contemporary relevance of his film, which critiques the use of the Holocaust and Jewish safety as justification for violence and ethnic cleansing in Gaza, particularly following the tragic events of October 7.
The film, part of the official selection at the Cannes Film Festival 2023, explores the horror of the Holocaust through the lens of the banal lives led by Nazi officials. Based on the true story of Auschwitz commander Rudolf Höss and his wife, Hedwig, the narrative juxtaposes their seemingly idyllic family life with the atrocities occurring just beyond their home.
La Zone d'Intérêt is not just about Glazer's remarkable talent and courage as a filmmaker; it serves as a chilling reminder of how the dehumanization of others can lead to barbarity and heinous acts against humanity. The film dares to ask - how can we conceive of life existing side-by-side with death? Through vibrant imagery and haunting soundscapes, Glazer presents the chilling coexistence of domesticity and genocide.
The film's premise is simple yet powerful: it centers on the everyday lives of the Höss family, who live next to the Auschwitz extermination camp, attempting to create their dream life, complete with gardens and family barbecues. The stark contrasts between their domestic bliss and the surrounding inferno echo the absurdity of such normalcy happening concurrently with mass murder.
Glazer's cinematic style challenges conventional portrayals of horror. He opts for minimalism, invoking significant discomfort through stark imagery and sound instead of explicit violence. Audiences hear the distant echoes of misery—gunshots, screams, and barking dogs—while the actual horror remains largely off-screen, forcing viewers to grapple with the silence amid the chaos.
This approach mirrors the discomforting reality of the Holocaust, emphasizing how life continued for some even as death surrounded them. Scenes of joyful family activities are interspersed with auditory hints of despair, illustrating not just the criminals but also the complicity and ignorance of those like the Höss family.
Reported by The Guardian, Glazer stated, "We refuse to let our Jewish identity and the Holocaust be appropriated to justify an occupation leading to conflict for so many innocent people.” These poignant words reflect the absurdity of opposing the fight against anti-Semitism and the call to acknowledge the suffering of Gaza.
It serves as both condemnation and call to action, reminding us of our collective responsibility toward humanity.
His work earned accolades beyond France, as Glazer won the Oscar for Best International Feature Film on March 10, 2024. During his acceptance speech, he reiterated the same sentiments, drawing connections between historical atrocities and current injustices. He stated emphatically, "We must not forget the genocides of the past—we are haunted by them, and our response to current suffering must be informed by history, not dismissed as triviality.”
The juxtaposition of the everyday and the horrific is masterfully crafted. Scenes of the Höss family enjoying their days at home are juxtaposed with military-like efficiency and chilling indifference to the genocide happening nearby. Hedwig Höss, played by Sandra Hüller, embodies this dichotomy, offering smiles and conviviality as she cares for her children, unaware or unwilling to acknowledge the crimes taking place just beyond her backyard.
The film presents visual metaphors; for example, vibrant flower beds thriving just beyond the camp’s perimeters lead viewers to ponder the mechanics of denial and complicity as they witness beauty contrasted against the horrors of the concentration camps. The cinematographic techniques and sound design effectively create this dissonance, allowing the audience to experience the tension between innocence and evil.
Interestingly, the film reflects upon contemporary concerns, delving deep within the psyche of those whose everyday lives coexist with the darkest parts of history. Glazer effectively lingers on the estrangement and detached comfort of those not affected directly by atrocities. The films demonstrate how comfort and horror can reside side by side—an unsettling truth about moral blindness.
While some critics have lauded Glazer's approach for its boldness and artistry, others question whether he avoids confronting the direct visions of the Holocaust. Questions linger around whether he may have chosen the easier path by depicting everyday life without fully confronting the ferocity of the genocide itself. Critics like Guillemette Odicino have argued it may not only underrepresent the victims' plight but also provide layers of comfort derived from watching the day-to-day of the oppressors.
Despite such criticism, La Zone d'Intérêt remains impactful, presenting the alarming reality of cohabitation with evil under the guise of normalcy. Viewers are compelled to reflect upon their own lives, considering the inertia against injustices happening around them.
Glazer's work not only serves to memorialize the Holocaust but evokes uncomfortable comparisons to today. The chilling representation urges vigilance, warning against oblivion as we navigate the present political landscapes fraught with similar themes of dehumanization and violence. The strength of Glazer's artistic expression lies within its challenge to viewers—demanding reflection and discourse on matters all too often deemed taboo.
Indeed, as we contend with the legacies of historical violence, Glazer reminds us how dangerously close we may dance to historical amnesia. His film implores audiences to engage actively with history lest we repeat the horrors we’ve sworn never to witness again.