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The Zone of Interest is a title that accurately reflects the film it adorns: it’s a term used by the Nazis to euphemistically address the 40 square kilometre area surrounding the Auschwitz concentration camp, conspicuously refusing to mention the factory of death it enclosed, conveying a culture of at best wilful ignorance of and at worst tacit complicity with the Holocaust. Similarly, Jonathan Glazer’s film is conspicuous in its refusal to show us the interior of the camp (with a notable exception, which we discuss), instead keeping its attention on the surrealistically normal country house with which it shares a wall, which is occupied by the camp’s commandant, Rudolf Höss, and his family. The film is not interested in imagery of suffering, torture, and death: its subject is the culture and mentality of those who administrate and benefit from it.

There’s a huge amount to discuss in this thought-provoking film, and we reflect on our own experiences visiting Auschwitz, now a museum and memorial, in so doing. Our key insight from visiting, something obvious on paper but not clear until we were there, was the industrial nature of the camp, in which it used its victims up for the labour they could extract, allowing them to starve to death as the energy content of their bodies diminished, and replacing them with a steady intake of others. The film conveys some of this in the businesslike manner in which Höss’s job is conducted – it’s all phone calls, meetings, conferences, folders, agendas. And we discuss Höss’s wife, Hedwig, and her complicity; the soundtrack, which beds the film in a constant hum of machinery and movement from the camp, and the ending, which offers a surprising and effective flourish that grounds everything we’ve seen in documentary reality.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.