Review: Son of Saul

There are plenty of films about the Holocaust, but it's hard to find art films that fit into this category. Fortunately, Hungarian director László Nemes' Oscar-nominated film, SON OF SAUL, breaks down that barrier.

Taking place in Auschwitz in 1944, the story follows Saul Ausländer (Géze Röhrig), a Sonderkommando (a prisoner whose death is delayed in order to do the dirty work in the concentration camps) who, having witnessed the death of his son whom he was not there for in life, now wants -- no, needs -- to give him a proper burial. His desperate plans are a direct conflict with the scheme of his fellow prisoners, who are organizing a revolt to escape the camp. He even puts his own life at risk to make amends with his past.

Ninety percent of the shots hold steady on Saul in shallow focus -- a fascinating decision, given the horrifying acts that occur in his background. Naked bodies are dragged past, and blood scrubbed from the floors, but the cinematography attempts to desensitize you -- just as the characters must desensitize themselves in order to push forward and survive -- leaving you with an uneasy feeling as your moral compass tries to ground itself.

There is never a moment where the action stops, where the characters sit down and feel sorry about themselves while sad music plays in the background -- no, every second of this film has an electricity to it, as the characters weave their way around each other, any thoughts of self-pity pushed to the side by their desperate will to survive. But Saul has a different motive. While he still very much wants to live, the guilt of his son and a desire to make things right gnaw at him.

SON OF SAUL is a moving film, heartbreaking and breathtaking in one fell swoop. Now playing at the Midtown Cinema!