Cannes Film Festival on Friday, Glazer’s disquieting essay-film takes place almost entirely in and around the comfortable, middle-class home of Auschwitz commandant Rudolf Höss, tackling both the banality and quiet domesticity of evil with eerie formal rigor.Viewed from afar, Rodolf (Christian Friedel) and Hedwig (Sandra Hüller) live an idyllic and unexceptional life.
They’re happily married, upwardly mobile strivers, with faith in their government and hope for the future. They follow sports, tend gardens and participate in collective projects for patriotic renewal.
And they’re professionally satisfied — her as a stay-at-home mom raising a family of five, and him working right next door, overseeing the most macabre site of mass-genocide mankind has ever devised.In fact, Glazer ensures that they are almost always viewed from afar by setting his actors loose in a scale replica of the Auschwitz-adjacent house, replete with fixed-position remote activated cameras built into the walls and keeping his crew on the outside.
If the resulting aesthetic plays like an AI-generated mix of “Big Brother” by way of Stanley Kubrick, the footage captured is considerably less spicy.
Read more on thewrap.com
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