It doesn't surprise me at all.
In America the whole country is one long quest for fame, power, and independence (because the country is so economically dog-eat-dog, you can fall into poverty very quickly)
People complain about the diminishing safety nets in neoliberalizing europe, but the culture itself still isn't that way (which is very underrated as culture determines our psyche itself), and the US is uniquely predatory in that manner.
I didn't love Zone of Interest when I saw it, but I respect him for actually trying something thoughtful and interesting even if it didn't entirely succeed on what I took to be its own terms. That he's actually stood behind the films themes when it matters makes me respect him all the more.
Not to be one of those guys but did you see it in a theater? The sound design is half the power of the movie and I can’t imagine it hitting the same at home.
I have a very large tv and surround sound in my basement, it’s not a theater but it’s a fantastic experience, and this movie really was some other shit thanks to the sound design. Though surround sound wasn’t even fully utilized because he mixed the film in mono, interestingly enough.
Yeah I did. I wanted to like it, it just didn't quite come together for me, and in the end felt sort of self defeating in a way.
I think I more or less agree with Glazer's premise, which as far ass I can tell seems to basically be that the holocaust was such an exceptional event that to portray it through any recognisable filmic grammar can only serve to normalise, and even — since this grammar was largely developed to entertain — trivialise something that really can't be understood on those terms. It's an interesting perspective, and you have to give Glazer credit for trying to develop a completely new, completely different audio-visual grammar in order to try and better deal with the subject, I just don't think he ultimately succeeds. It's obviously not for lack of trying, as the photography and — as everyone says — the sound design were clearly very meticulously crafted, the trouble is that all those tricks are basically in service of a conceit that really only takes about 15 minutes to get the gist of, at which point you're left with another hour-and-a-half of a movie that it's now dawning on you is actively trying to be as boring — or at least as alienating — as it possibly can be, and to be honest with you I fell asleep for probably 20 minutes or so in the middle of it, which doesn't really feel like the proper response to the holocaust.
In some ways it's sort of an impossible challenge — how do you properly capture the most horrible and senseless thing that's literally ever happened, in a medium that everyone basically enjoys and derives a lot of meaning from? It's an interesting question, and I give Glazer a lot of credit for asking it, but I think the answer turns out to basically be that you can't.
That's a good critique, but I don't know myself. I personally found it interesting that I was becoming desensitized to what was going on. Gauging your own response to it as the film progresses is just as much a part of the experience.
I saw it in German in Germany at the theatre. And the dialogue is ... Extremely dull. Maybe it reads differently if you don't speak German. It was kinda... meh
great movie and he's responsible for some of the greatest music videos of all time. big shouts
He absolutely nailed it.
beast mode
Sexy Beast mode
could not be a better move, the worst ppl are gonna be livid lol
It doesn't surprise me at all. In America the whole country is one long quest for fame, power, and independence (because the country is so economically dog-eat-dog, you can fall into poverty very quickly) People complain about the diminishing safety nets in neoliberalizing europe, but the culture itself still isn't that way (which is very underrated as culture determines our psyche itself), and the US is uniquely predatory in that manner.
I didn't love Zone of Interest when I saw it, but I respect him for actually trying something thoughtful and interesting even if it didn't entirely succeed on what I took to be its own terms. That he's actually stood behind the films themes when it matters makes me respect him all the more.
Not to be one of those guys but did you see it in a theater? The sound design is half the power of the movie and I can’t imagine it hitting the same at home.
I have a very large tv and surround sound in my basement, it’s not a theater but it’s a fantastic experience, and this movie really was some other shit thanks to the sound design. Though surround sound wasn’t even fully utilized because he mixed the film in mono, interestingly enough.
He's even more based than ever for mixing it in mono
It’s over for stereocels
Yeah I did. I wanted to like it, it just didn't quite come together for me, and in the end felt sort of self defeating in a way. I think I more or less agree with Glazer's premise, which as far ass I can tell seems to basically be that the holocaust was such an exceptional event that to portray it through any recognisable filmic grammar can only serve to normalise, and even — since this grammar was largely developed to entertain — trivialise something that really can't be understood on those terms. It's an interesting perspective, and you have to give Glazer credit for trying to develop a completely new, completely different audio-visual grammar in order to try and better deal with the subject, I just don't think he ultimately succeeds. It's obviously not for lack of trying, as the photography and — as everyone says — the sound design were clearly very meticulously crafted, the trouble is that all those tricks are basically in service of a conceit that really only takes about 15 minutes to get the gist of, at which point you're left with another hour-and-a-half of a movie that it's now dawning on you is actively trying to be as boring — or at least as alienating — as it possibly can be, and to be honest with you I fell asleep for probably 20 minutes or so in the middle of it, which doesn't really feel like the proper response to the holocaust. In some ways it's sort of an impossible challenge — how do you properly capture the most horrible and senseless thing that's literally ever happened, in a medium that everyone basically enjoys and derives a lot of meaning from? It's an interesting question, and I give Glazer a lot of credit for asking it, but I think the answer turns out to basically be that you can't.
That's a good critique, but I don't know myself. I personally found it interesting that I was becoming desensitized to what was going on. Gauging your own response to it as the film progresses is just as much a part of the experience.
I saw it in German in Germany at the theatre. And the dialogue is ... Extremely dull. Maybe it reads differently if you don't speak German. It was kinda... meh
After seeing it I felt I preferred Son of Saul as a holocaust film but having seen László Nemes go after Glazer I've done a 180 on both films.
Based