The Nightmare Technique of The Zone of Interest
The 13th of October, 2023. The leads, sound designer, and director of the five-time Oscar-nominated film, The Zone of Interest, walk onto the stage of the Southbank cinema at the BFI London Film Festival, minutes after the credits are done rolling on the two-hour nightmare that the audience was subjected to. I was in that audience, and I was stunned. I was paralyzed in my seat after watching the most subtly effective drama film detailing the horrors of the holocaust I had ever seen, all done without a single drop of blood shown on screen. The sound of the film, paired with its precise and uncanny visuals, shook me. I felt a visceral sense of terror because I’m aware that just beyond the frame, but never beyond earshot, people are needlessly and systematically dying in sick, twisted daily slaughters. One of many things that have been ingrained in my memory in the short Q&A that followed was where lead actress Sandra Huller (nominated this year for her acting in Anatomy of a Fall) is asked about how she approached her character. The first part of her answer was a nuanced take on finding a way to honestly portray an evil of history without sympathizing or simplifying it, her character being the real wife of Auschwitz camp director Rudolph Hoss, but it's the second part I’m going to focus on here. That being the intricacies of the multi-camera system, as opposed to the much more conventional single camera.
