This is Saul’s world, tight and claustrophobic and chaotic we might see dead bodies or Nazi guards in quick flashes in the corners of the frame, but mostly what we’re looking at is Saul’s impassive face, drained of humanity because to be human would be unbearable.
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The camera mirrors Saul’s ability to shut things out, because it almost never leaves his face (or the back of his head) and rarely backs up to show even a medium shot. He methodically leads new prisoners to the “showers,” tells them to see him about work assignments once they’ve cleaned up, and then systematically collects their clothes, pilfering valuables from them as screams and pounding fill the air from the adjoining gas chambers. It’s a job you can’t do without numbing yourself to everything around you, and that’s what Saul has done at the beginning of the film. Nemes’ version is the story of Saul Auslander (Geza Rohrig), a Hungarian Jew who works in a concentration camp as a member of the Sonderkommando, prisoners who assist the Nazis in exterminating their fellow inmates. See photos: 19 Cannes Movies on the Radar: Hot Titles, Must-See Picks (Photos) “Son of Saul” does something remarkable: It finds an original way to look at the Holocaust cinematically, bringing a startling energy and a fresh look to a subject already explored countless times onscreen. (On the other hand, if I were a first-time Cannes director eligible for the Camera d’Or, which goes to the best debut film from any section of the festival, I’d be sweating about now.) Some early viewers have already talked about it winning the Palme d’Or, which is jumping the gun a bit on Day 2.
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That may have been a question before “Son of Saul” screened, but the answer is now blindingly obvious: This movie made it into the main competition because it deserves to be there. The question hanging over Thursday’s first screenings of “Son of Saul,” which has its official premiere on Friday, is whether Nemes had produced such a standout work that Cannes programmers were forced to reconsider their usual policy, or whether they came in determined to change their stuffy image and simply used Nemes to achieve that end. You don’t just get slotted into the most prestigious of the festival’s sections without a track record, usually including a couple of prior films appearing in the Un Certain Regard section or in independent sidebars like Critics’ Week and Directors’ Fortnight.Įven Xavier Dolan, a filmmaking wunderkind if there ever was one, had four of his first five movies accepted at Cannes, but was famously kept out of the main competition until last year’s “Mommy.” (He made his irritation public - but this year, as if to show there are no hard feelings, he’s back as a juror.)Īlso read: Jake Gyllenhaal Hits Hard in ‘Southpaw’ Glimpse as Weinstein Company Unveils Strong 2015 Lineup in CannesĪll of which is to say that Nemes has pulled off a rare feat, landing in the main competition with his directorial debut.
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One of the most surprising things about Laszlo Nemes’ “Son of Saul” (“Saul Fia”), a tough Holocaust drama that’s probably the most surprising and shocking film to screen at the Cannes Film Festival so far this year, might be that it was competing for the Palme d’Or at all.Īfter all, the film is the first feature for Hungarian director Nemes, and it’s a given at Cannes that directors have to work their way up to the main competition.