Please be advised that the following article discusses sensitive topics surrounding genocide.
Jonathan Glazer’s film, The Zone of Interest, made a striking entrance into the cinematic world with a trailer that, lacking spoken dialogue, powerfully evoked both unease and anticipation for the 2023 historical drama. The film, which explores themes linked to the Holocaust, left many viewers perplexed upon its initial release, which is likely why there was a notable disparity between the critic ratings and audience scores on Rotten Tomatoes shortly after its streaming debut.
More than a year post-premiere, general audiences are increasingly embracing the film, with its audience score gradually aligning closer to the impressive 93% critics score it now holds on Rotten Tomatoes. Notably, The Zone of Interest garnered five nominations at the 96th Academy Awards, including Best Picture and Best Director, ultimately winning accolades for Best Sound and Best International Feature. While I’ve previously shared my personal reflections on its profound impact, it’s clear that even the trailer left an indelible mark.
The Zone of Interest Trailer Creates Unease
Glazer’s Trailer Subtly Unveils the Atrocities
The Zone of Interest trailer, despite its brevity of just one minute, effectively sets a disturbing tone from its opening shot to its last. It begins with the “Festival De Cannes”award displayed against a deep red backdrop that evokes a sense of foreboding. This unsettling hue quickly creates tension, enhanced by the rhythmic drone that accompanies the trailer.
The audio landscape presents an ominous rumble, reminiscent of heavy trucks traversing gravel roads, punctuated by sharp, alien pulsations occurring throughout. The unsettling sound evokes comparisons to the eerie noises produced when ice meets cold lakes or the distant thuds of someone pounding against a window, felt but not seen.
As the trailer unfolds, a series of ominous comments from critics interweave with glimpses of the Höss family’s seemingly ordinary life, showcasing activities like picnics, shopping for clothes, and tranquil moments at home—all occurring against the backdrop of larger, mysterious structures. Rapid editing keeps tension high, and just when comfort starts to settle in, viewers are confronted with a chilling image: a young boy inspecting a couple of human teeth under his bedsheets.
From the onset, I felt a wave of disturbance, escalating to sheer horror as the trailer concluded, pushing me to wonder what the full feature might reveal. A compelling trailer lingers in the mind, which this one certainly did, prompting repeated viewings to decipher the deeper meanings lurking beneath its cold surface.
An Emotionally Charged Experience
A Disturbing Intersection of Normalcy and Horror
Although I anticipated an emotionally charged experience from The Zone of Interest, I was unprepared for the uniquely shocking and distressing nature of its narrative. The trailer, in effect, condenses the entire story, encapsulating mundanity against the backdrop of overwhelming horror. Viewers are introduced to Rudolf Höss (Christian Friedel), his wife Hedwig (Sandra Hüller), and their family, oblivious to the grotesque reality they inhabit due to Rudolf’s high-standing role in Nazi Germany.
The ambiguity around Rudolf’s job and the nature of the buildings surrounding their home adds layers of tension. Dark plumes of smoke emanate from chimneys, trains perpetually moving in and out, and Hedwig’s lavish lifestyle starkly contrast the grim truth—a concentration camp lies just beyond their garden walls.
As the story unfolds, the visceral understanding of the underlying horrors dawns on each viewer at different moments, creating a chilling atmosphere in theaters as realization washes over audiences. No member of the Höss family acknowledges the atrocities occurring just outside their view, seemingly comfortable with their affluent existence built on human suffering. The film’s final moments poignantly encapsulate this detachment.
Following an SS gathering where Rudolf discourses on the most efficient means to execute gas attacks, he collapses and vomits. This haunting moment transitions sharply to present-day images of custodians at the Auschwitz-Birkenau State Museum. The cruel irony highlights an evil so abhorrent it elicits physical revulsion among its perpetrators, who, nonetheless, choose to persist. This chilling portrayal serves as a stark reminder of unthinkable atrocities hidden in plain sight.
The Dominance of Sound in The Zone of Interest
Oscar-Winning Sound Design by Johnnie Burns
In The Zone of Interest, sound emerges as Jonathan Glazer’s most effective tool. This is not merely my observation; the Academy recognized the film’s excellence in sound design, awarding it the Oscar for Best Sound. It’s captivating to see how Glazer and his sound team, Johnnie Burns and Tarn Willers, crafted two haunting audio landscapes—one for the trailer and another for the film itself. While the trailer introduces an unsettling rhythm, the full feature delves into more intricate soundscapes.
The film unfolds almost like a reality show, employing fixed cameras that provide uninterrupted insights into the lives of the Höss family within their home. The ambient noise of daily life is juxtaposed against distressing sounds that echo from the Holocaust’s darkest moments.
As scenes from the film play out, the listening experience intensifies with mundane sounds intermingled with chilling noises—barking dogs, clattering trains, the distant shouts of soldiers, and the muffled cries of those suffering. These soundscapes serve not only to enhance the narrative but also to raise questions of perception and complicity. How could the Höss family remain oblivious to the horrors surrounding them? The very essence of The Zone of Interest lies in their choice to ignore such realities, a poignant reminder of the dangers of silence and inaction.
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