![]() ![]() ![]() ![]() Boldly courting the kind of debate about how (or whether) the Nazi death camps should be depicted that dates back at least as far as Claude Lanzmann’s “Shoah” (1985), “Son of Saul” is likely to draw admiration and outrage alike: Does its uncompromising restraint and formal rigor serve as a corrective to the sensationalism and sentimentality favored by Hollywood, or does it merely substitute one form of exploitation for another? To the credit of Nemes (who co-scripted with Clara Royer), his immersive yet powerfully withholding film is clearly built for, and comfortable with, a measure of moral ambiguity.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |