Jonathan Glazer’s The Zone of Interest captured my heart and mind in ways I hadn’t anticipated, a rare feat in these days brimming with remarkable cinema. Poor Things (Yorgos Lanthimos, 2023) among them, these recent releases have set a high bar. Yet, it is with a heavy heart and a mind stirred by reflection that I declare my deep connection to Glazer’s work, a declaration born from not one, but two viewings, each followed by rich dialogues with writers and philosophers.

In the quiet aftermath of those screenings, I found myself besieged by a multitude of questions. The necessity of another Holocaust narrative, the timing of such a film amidst the heart-wrenching genocide in Gaza, and the visceral disdain it provoked in a professor of Judaism I encountered; all these thoughts swirled within me, challenging me to confront the unsettling concept of the banality of evil anew.

The Devouring Image

Experiencing The Zone of Interest was akin to being consumed by a vast, all-encompassing image, an eerie sensation that clings to me still, nearly two weeks after my last encounter with it. This persistent feeling of being devoured compels me to dissect my emotions and thoughts, to sift through them with a lens sharpened by philosophical inquiry. I am drawn, irresistibly, to delve into how Glazer’s visual storytelling embodies these profound philosophical themes.

Above all, I find myself championing the necessity of another film about the Holocaust. It’s a conviction that springs not from a place of redundancy, but from an urgent reminder of our collective human capacity for both profound darkness and, hopefully, luminous understanding. The tragedy unfolding in Palestine underscores the dire need for us to take a stand, to refuse complicity in silence. It calls for a radical reevaluation of our actions, for a voice against atrocity, urging us towards a reimagined vision of humanism.

In this pursuit, The Zone of Interest stands not just as a film but as a beacon urging us towards introspection, towards understanding the depths of human nature and our responsibilities within it. My heart, laid bare by the film’s haunting images and themes, yearns for a world where such reflections spark the changes we so desperately need.

Shadows Within Shadows: Jonathan Glazer’s The Zone of Interest

Jonathan Glazer’s The Zone of Interest transcends the conventional boundaries of Holocaust narratives, unveiling a haunting dichotomy between the mundanity of domestic life and the looming shadow of unspeakable evil. This narrative invites us into the intimate lives of Rudolf Höss, portrayed with a haunting authenticity by Christian Friedel, and his wife, Hedwig Höss, brought to life with nuanced depth by Sandra Hüller. Set against the grim reality of the Auschwitz concentration camp, the film interweaves the narrative of the Höss family’s seemingly mundane existence with the harrowing reality of the atrocities occurring just steps from their home. Rudolf Höss, in his role as commandant, is depicted orchestrating the systematic annihilation of countless lives, revealing a chilling insight into the depths of human cruelty.

The title, The Zone of Interest, hints at a multitude of interpretations, with its most direct reference being to an SS-administered area of over 40 sq. km, established in the early months of 1941 following the forced expulsion of Poles and Jews from the vicinity. This expulsion, as Rudolf Höss documented, aimed to eliminate witnesses to the SS’s heinous acts and to thwart any interaction between the prisoners and the external world. Höss’s observations on the staunch Polish identity of the surrounding populace and their willingness to assist escapees underscored the perceived threat to SS authority.

The establishment of this zone also served the purpose of land confiscation for the camp’s agricultural initiatives, leading to the displacement of around a thousand individuals and the demolition of over a thousand homes. The debris from this devastation was repurposed for constructing barracks in the Birkenau camp, solidifying the SS’s control through the establishment of eight sub-camps, wherein prisoners were forced into labour in fields, animal husbandry, and the upkeep of fish ponds.

A Cinematic Quest for Ethics and Meaning

After this detailed prologue, let’s immerse ourselves in philosophical explorations. We will engage deeply with several philosophical concepts, emphasising that the essence of the film is its philosophical inquiry. It interweaves Hannah Arendt’s analysis of the banality of evil, the psychological insights revealed by the Stanford Prison Experiment, and the ahuman philosophy as championed by luminaries such as Félix Guattari, Patricia MacCormack, and Gilles Deleuze. This film sets out on a reflective voyage, mulling over contemporary ethical quandaries, the nature of work ethics on a global scale, and its poignant significance to the ongoing genocide in Palestine. Glazer’s filmic venture ushers viewers into a space of deep reflection, urging them to ponder the complex web of human ethics, the normalisation of evil, and the lasting influence of our decisions on the tapestry of history.

Film Overview and Philosophical Underpinnings

The Zone of Interest is a lens through which we view the present and our place within it. Glazer’s choice to focus on the domestic life of the Auschwitz commandant and his family, employing a detached visual style, serves as a medium to explore Arendt’s notion of the banality of evil (Arendt, 1963). This approach challenges us to consider how ordinary individuals can become complicit in systemic evil through adherence to routine and authority, a theme eerily resonant in today’s global ethical dilemmas.

The Banality of Evil: Hannah Arendt’s Unsettling Revelation

Hannah Arendt’s exploration of the banality of evil serves as a haunting backdrop to Glazer’s narrative, challenging us to confront the uncomfortable reality that evil often lurks in the mundane. Arendt’s seminal work, Eichmann in Jerusalem: A Report on the Banality of Evil, becomes a guiding light as we navigate the moral quagmire of Auschwitz (Arendt, 1963).

In The Zone of Interest, Glazer invites us to bear witness to the domestic tranquillity of the Höss family, their seemingly ordinary existence juxtaposed against the horrors unfolding beyond their garden walls. Sandra Hüller’s mesmerizing portrayal of Hedwig Höss embodies Arendt’s thesis, capturing the chilling indifference of a woman consumed by narcissism, oblivious to the suffering that surrounds her (Arendt, 1963).

Exploring the Depths: The Stanford Prison Experiment

Philip Zimbardo’s Stanford Prison Experiment emerges as a chilling parallel to Glazer’s narrative, underscoring the seductive allure of power and authority. Through Zimbardo’s groundbreaking research, we confront the sobering reality that even the most virtuous individuals can succumb to the darkness that resides within (Zimbardo, 2007).

Glazer’s portrayal of Rudolf Höss embodies the essence of Zimbardo’s findings, portraying a man enmeshed in the machinery of genocide, his humanity eroded by the weight of his own power. Christian Friedel’s haunting portrayal captures the existential crisis of a man caught between duty and morality, navigating the moral abyss with stoic resolve (Zimbardo, 2007).

Ahumanism: Challenging Anthropocentrism

At the nexus of philosophy and ethics lies ahumanism, a radical departure from anthropocentric worldviews that challenges traditional notions of human identity and agency. Ahumanism, as conceptualized by MacCormack (2014) and Deleuze and Guattari (1987), further enriches the film’s philosophical landscape. This perspective urges us to question anthropocentric narratives and consider a broader spectrum of life and agency. Glazer’s film, through its focus on the perpetrators’ banality and domesticity juxtaposed against the backdrop of Auschwitz, encourages a reflection on our interconnectedness with all forms of life and the ethical responsibilities that this interconnectedness entails.

Glazer’s narrative subverts conventional Holocaust narratives, inviting us to confront the humanity of those complicit in unspeakable atrocities. Through his lens, we bear witness to the domestic tranquility of the Höss family, their banal existence juxtaposed against the horrors of Auschwitz. In doing so, Glazer challenges us to confront our own complicity and indifference, unsettling our assumptions about moral innocence and guilt (MacCormack, 2014; Deleuze & Guattari, 1987).

A Symphony of Shadows: Visual Style and Soundscapes

Glazer’s visual style transcends cinematography; it becomes a language unto itself, speaking volumes without uttering a single word. From the stark austerity of Auschwitz to the domestic intimacy of the Höss household, every frame is meticulously crafted to evoke visceral reactions and provoke profound introspection.

The use of hidden cameras imbues the film with an eerie sense of voyeurism, blurring the lines between observer and observed. We are thrust into the heart of the narrative, forced to confront the unsettling intimacy of domestic life intertwined with unspeakable horror. Glazer’s decision to eschew traditional Holocaust imagery in favor of subtle visual cues underscores the film’s underlying themes, inviting us to bear witness to the banality of evil (Arendt, 1963).

Complementing the visual narrative is Mica Levi’s haunting score, which permeates every scene with an otherworldly aura. Levi’s dissonant compositions mirror the dissonance within the human soul, echoing the moral ambiguities and existential crises that unfold on screen. Together, Glazer’s visual mastery and Levi’s ethereal soundtrack create a symphony of shadows, enveloping us in a world where light and darkness converge.

Confronting the Abyss: Personal Reflections

As I traversed the tumultuous waters of The Zone of Interest, I found myself grappling with the existential questions that lie at the heart of Glazer’s narrative. His unflinching gaze laid bare the darkest recesses of the human soul, challenging me to confront my ethical compromises and moral frailties.

In the haunting silence of Auschwitz’s shadow, amidst the echoes of unspeakable atrocities, I grappled with the fragility of ethical boundaries and the ease with which they can be breached.

Ethical Relevance: Navigating the Contemporary Landscape

In a world plagued by injustice and suffering, The Zone of Interest, stands as a poignant reminder of the imperative to confront our ethical obligations and strive for a brighter tomorrow. Glazer’s exploration of power dynamics, complicity, and moral responsibility resonates deeply in today’s socio-political climate, where the ethics of capitalism, corporate exploitation, and environmental degradation continue to fuel debates and divide societies.

As consumers, employees, and global citizens, we are confronted with choices that have far-reaching implications for human rights, social justice, and environmental sustainability. Glazer’s film compels us to reflect on our own roles in perpetuating or challenging systems of oppression and exploitation, prompting us to consider the ethical dimensions of our actions and their impact on others.

The Reverse of Holocaust: Palestinian Genocide

In the context of Glazer’s exploration of human darkness, it’s impossible to ignore the contemporary atrocities perpetrated by Israel against the Palestinian people. The reverse of the Holocaust, where the oppressed become the oppressors, highlights the cyclical nature of violence and the fragility of human morality. The ongoing genocide in Palestine serves as a chilling reminder of the consequences of unchecked power and the dehumanization of the “other.”

Hence, the ahuman theory might be the solution that prevents us from participating silently in the world’s atrocities. Drawing on the philosophies of Deleuze, Guattari, and MacCormack, The Zone of Interest, challenges us to step beyond anthropocentric narratives and confront our part in a broader web of life and death. The film’s narrative and visual style invites us to question our complicity in systems of oppression, urging a reflection on the ethical choices we face daily. In a world fraught with exploitation and suffering, from the exploitation of labour to the oppression of the Palestinians, Glazer’s film serves as a stark reminder of the ongoing cycles of violence and domination. How do we navigate our ethical landscapes in a world that demands our complicity in systems of harm?

Conclusion: Illuminating the Darkness

In crafting The Zone of Interest, Glazer does not offer resolutions but rather poses questions—questions that compel us to confront the uncomfortable realities of our ethical landscapes. The film stands as a testament to the power of cinema not only to narrate history but to provoke, question, and illuminate the darkest corners of the human condition. Through its exploration of the banality of evil, the psychology of authority, and the call for an ahuman ethics, The Zone of Interest emerges as a pivotal work for understanding the complexities of moral judgment and the importance of vigilance in the face of systemic evil.

Jonathan Glazer’s The Zone of Interest is a visceral exploration of the human condition, a journey into the heart of darkness that resides within us all. Through his masterful storytelling and uncompromising visual style, Glazer invites us to confront uncomfortable truths about power, authority, and moral responsibility.

As the credits roll and the echoes of Mica Levi’s haunting score fade into silence, we are left with a profound sense of introspection. Glazer’s film had peeled back the veneer of civilization, laying bare the raw truths that lurk beneath. In a world plagued by injustice and suffering, The Zone of Interest stands as a poignant reminder of the imperative to confront our ethical obligations and strive for a brighter tomorrow.

Bibliography:

Arendt, H. (1963). Eichmann in Jerusalem: A Report on the Banality of Evil. New York, NY: Penguin Classics.

Zimbardo, P. G. (2007). The Lucifer Effect: Understanding How Good People Turn Evil. New York, NY: Random House.

MacCormack, P. (2014). Posthuman Ethics: Embodiment and Cultural Theory. New York, NY: Routledge.

Deleuze, G., & Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis, MN: University of Minnesota Press.