It also upends one’s hold on the nature of film itself, calling into question what film can or should do. Watching this feels like being delivered over to something inconceivable, something that bends one’s very hold on the world. All around him and filling out the screen are flames, shadows, and bodies: alive and dead, naked and uniformed, all wild with panic. As with the rest of the film, the camera is intent on Saul (Géza Röhrig), frantic in its pace and rapt in its focus. The soundscape is filled with crackling fire, gunshots, and a terrible range of human noises. IN THE MIDDLE of Lázló Nemes’s Son of Saul, a scene takes place in the center of the chaos surrounding a massive incineration pit as human beings are driven by other human beings to their death.
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