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Posted by / 30-Jun-2016 13:53

Yet it isn’t a “subjective stance,” because we see him as a character and I didn’t want to reduce the film to a purely visual approach. Aesthetics, any exercise in style or virtuosity needed to be avoided.

Moreover, this man is the point of origin of a unique, obsessive and primitive story: he believes he has recognized his among the gas chamber victims and is henceforth determined to save his body from the ovens, find a rabbi to say Kaddish and bury him.

In the summer of 1944, it was running at full capacity: historians estimate that several thousand Jews were assassinated there every day.

During the course of their mission, the Sonderkommandos were given a relatively preferential treatment.

Saul only sees the object of his quest; this provides the film with its visual rhythm.

I just wanted an angle that would be specific, pared down, and to tell a story as simple and archaic as possible.

I chose the viewpoint of a man, Saul Ausländer, a Hungarian Jew, member of the Sonderkommando, and I strictly upheld this position: I show what he sees, no more and no less.

Idi i smotri (Come and see) by Elem Klimov (1985) was a great source of inspiration for me.

The movie follows a boy in 1943 on the Eastern front and stays with him in an organic manner through his hellish adventures.

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They precisely describe, in the here and now, the “normal” functioning of a death factory, with its organization, its rules, work cadences, shifts, hazards, and its maximum productivity.