Jonathan Glazer's 'The Zone of Interest' and Steve McQueen's 'Occupied City' have made two of this year's essential Cannes Film Festival titles.
had claimed its first critical triumph and competition standout with “The Zone of Interest.” An implacably chilling, entirely mesmerizing portrait of a family living in the shadow of the inferno, the movie was greeted at its Friday night gala premiere with rave reviews, crass Academy Awards speculation and the usual meaningless gush about its lengthy standing ovation. The sustained applause was deserved but also, I suspect, a little incongruous.
As we’re ushered into the quotidian rhythms of life at a comfortable two-story house in Poland, where a husband and wife live with their young children and a few servants, our ears can’t help but pick up on a muted but unceasing chorus of background noises: high screams, barking dogs, crackling flames, clanging metal and not-infrequent gunfire.
From time to time we hear details of his work, as he studies blueprints for an advanced crematorium design or tries to ward off a transfer to Germany that would upend him and his very well-settled family. “This is the life we’ve always dreamed of,” says Höss’ wife, Hedwig , a sentiment so appalling that if you didn’t already know better, you’d wonder if she might be oblivious to the thousands of people, most of them Jews, being gassed and cremated on the other side of that wall.
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