Do not be fooled by the label of historical drama; “The Zone of Interest” is undoubtedly a horror movie.

This elusive film, nominated for five Academy Awards, has been almost impossible to watch anywhere. Unavailable to rent or buy, and with only a limited theatrical release in December, Oscar fans are all wondering what the buzz for “The Zone of Interest” is all about.

The German World War II film directed by Jonathan Glazer finally made its way to Ragtag Cinema on Feb. 2. The typical retelling of the Holocaust tends to play it straight, but what makes Glazer’s film unique is how willing he is to take risks in his artistry.  

At the genesis of the film, the title card fades away to a black screen and a haunting song begins to play. Long, drawn-out sounds from string instruments accompanied by what seemed to be rapid whispering played for what felt like minutes before fading into peaceful birds chirping. Glazer makes the audience wait in anticipation before a jarring hard cut reveals the idyllic-looking Höss family enjoying a sunny day with a picnic next to a river. 

On the surface, the film presents a seemingly normal and happy household with five kids, including a new baby and an energetic dog wagging its tail in the family’s beautiful garden of roses and dahlias. Until the audience sees the “SS,” the abbreviation for the Nazi party’s Secret State Police, on the license plate of the car of Rudolf Höss, played by Christian Friedel, you would never guess this family lives next door to a concentration camp. 

“Rudi calls me the queen of Auschwitz,” remarks Sandra Hüller, who stars as Hedwig Höss. Also leading in the Oscar-nominated film “Anatomy of a Fall,” Hüller is making a lasting impact in film this year, showing her versatility as a rising star.

“The Zone of Interest” is a true story loosely based on the 2014 book by Martin Amis and is nominated for Best Adapted Screenplay. The film is also nominated for Best Picture, Best Director, Best International Feature Film and Best Sound Design, which is its biggest strength.

The film’s sound designer, Johnnie Burn, also worked on the films “Nope” and “Poor Things.” Sound is clearly important to Glazer as reflected in his previous film “Under the Skin,” starring Scarlett Johansson. Burn got creative to illustrate the themes in the film, even recording in an anechoic chamber to create a void effect.

This film is bright and vibrant, full of greens and blues, but the spirited atmosphere cannot hide the horrors in their backyard. Hedwig Höss, nicknamed Mutzi by her husband, tends to her garden which backs up to an intimidating tall, gray wall with barbed wire atop it. As the children play together, they cannot escape the sounds of muffled gunshots, yelling and screaming. The proximity to such tragedy is incredibly normal for the Höss kids. When he cannot sleep, their young son comforts himself by mimicking the echoes of the gunshots aloud. 

Missing a nomination for Best Cinematography, “The Zone of Interest” often utilizes camera work to amplify the sound. In a harrowing sequence, Glazer shows extreme close-up shots of the flowers in Mutzi’s garden with the howls of the victims next door playing behind it. The sound grows louder and louder until it cuts to a bright red screen, emphasizing the irony behind the Höss family’s peaceful existence. 

Glazer manages to evoke terror in the audience without ever showing anything from inside the camp. The impeccable sound design alone is enough to make one ill. Even the end credits song has people shrieking in the background.

This daring Holocaust film is more than deserving of an Academy Award. While having the hurdle of being a foreign film, I expect it to leave with at least one win at the Oscars in March.

Edited by Alex Goldstein | agoldstein@themaneater.com

Copy Edited by Jae Green and Briana Iordan

Edited by Scout Hudson | shudson@themaneater.com