It will be a must for festivals, and, one hopes, for intrepid art-house distributors. Using techniques of distanciation that sometimes make it an alienating, even confusing experience, László Nemes’s cogent, strikingly confident debut is harrowing, but cinematically rewarding. But the observation takes on genuine meaning with Hungarian drama Son of Saul, which not only gives the metaphor a powerful new charge in terms of dramatic intensity, but represents a serious attempt to rethink the visual codes of depicting the atrocities of the Shoah - events that have, in the last three decades, been increasingly often represented in cinema, arguably to the point of devaluation. It is stating the obvious to say of any Holocaust film that it shows the concentration camps as an earthly hell.
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