The Zone of Interest

Last year, A24 released the remarkable film Aftersun, a serious contender for the most emotionally engaging film of 2022. This year, A24 has done it again with The Zone of Interest, albeit in an entirely different way. While Aftersun is a film that will make you cry uncontrollably, The Zone of Interest will leave you completely empty.

This is a film that, right from the outset, seemed like something I would absolutely love. Films that take place during World War 2 always interest me, and this was a unique take on the subgenre that I had never seen before. Yet The Zone of Interest somehow surpassed my expectations, as it is not only the best film of the year but also of the decade. Every scene is so incredibly well-crafted and feels incredibly relevant to the main themes the film is looking to tackle. This film isn’t a simple black-and-white observation of the Nazis: though it does not portray them as good people, it provides far more depth to them than most other Holocaust films.

The Zone of Interest does not really have a story. It’s far more of a slice of life film, which I’m not usually the biggest fan of. But the plotlessness of the film actually works to its advantage, as it showcases the mundane nature of these characters' lives over the backdrop of the inhumane horror of the Holocaust. 

As a result, The Zone of Interest has a remarkably distinctive and disturbing tone and atmosphere that is amplified through the use of sound and score. The sound design is really excellent in its utilisation. The audience is not shown any of the horrors of Auschwitz, but is instead subjected to its sounds; the painful screams create a truly haunting experience. The film is incredibly subtle and minimal when it wants to be, with the little bits of information provided either giving the audience the before and after of a scene or creating a sense of foreboding with background noises like trains. On the other hand, the score reminded me of All Quiet on the Western Front’s score, although far more effective this time around. It is incredibly intrusive and offsets the mundane scenes that we follow spectacularly.

Each choice made in The Zone of Interest is unique and fascinating, and that precise vision is all thanks to Jonathan Glazer’s brilliant direction. I’m unfamiliar with his previous work, but this has made me incredibly interested in checking out the rest of his filmography. Though some of his choices initially took a while to work for me and felt rather jarring at first, each one came together perfectly when they reached their conclusion.

For such a mundane and simplistic film on the surface, there is some truly excellent cinematography to accompany the brilliant direction. It primarily consists of static shots that the actors move in and out of as they will, instilling the film with a quintessential naturalism. The screenplay is another highlight: not only is the structure genius, but the interactions between characters are written fantastically. I tend to be far more impressed by a great comedic script, which most of my favourites of this year have been, but The Zone of Interest takes an incredibly simple and mundane concept and makes it deeply engaging throughout. It’s a no-brainer for the best screenplay of the year.

Much has been said about The Zone of Interest’s technical prowess, but I would also like to praise its leads. Sandra Hüller has been having a phenomenal year, between her rightfully acclaimed turn in Anatomy of a Fall and her subtly great performance here. There is some subtlety to this performance and this film, along with Anatomy of a Fall, has cemented her as a new favourite of mine. Christian Friedel gives a solid lead performance and sells each scene he’s in, even if there’s no dialogue. The other supporting cast members are decent in their roles, but the film doesn’t focus on them that much. 

Overall, The Zone of Interest is a film that plays into all my sensibilities as a film enjoyer. It gave me everything that I could have ever wanted in a film, and I do not think I will ever watch it again. 

10/10