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Géza Röhrig, Levente Molnár, Urs Rechn, Todd Charmont, Jerzy Walczak, Balázs Farkas, Gergő Farkas, Sándor Zsótér, Marcin Czarnik, Levente Orbán (mehr)Streaming (6)
Inhalte(1)
KZ Auschwitz-Birkenau, Herbst 1944. Der Ungar Saul Ausländer gehört einer Gruppe von jüdischen Gefangenen an, die isoliert ist. Das so genannte Sonderkommando wird gezwungen, bei der Massenvernichtung der Mithäftlinge zu helfen und die Leichen aus den Gaskammern in Krematorien zu beseitigen. Das erschütternde Schicksal eines Buben lässt Saul einen gefährlichen Entschluss fassen. Heimlich will er zumindest ihn würdig bestatten. Ungewollt gefährdet er dabei einen Aufstand gegen die SS-Wachmannschaften. (ORF)
(mehr)Kritiken (13)
A very authentical portrayal of the hell of a concentration camp that focuses on the Sonderkommando, auxiliary Jews who send other Jews to the gas chambers and also to the ovens. What annoyed me was the main character, as the camera took close-ups of his face quite often and he wasn't a very pretty sight to look at, which might still be passable if he didn't also annoy me with his behaviour, as he spends the whole film looking for a rabbi and wanting to bury his son, and that didn't sit right with me as the central plot. If the film had focused more on the riot or shown footage of the gas chambers or the ovens, it could have been a competition to A Serbian Film. Still, this is a disturbing film from a horrific setting and I don't envy anyone who had to endure it. The unconventional cinematography is interesting. Decent, but I could imagine it being better.70%
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Eine schlaue Verbindung von einem POV-Aufnehmen, bei welchem man dokumentarisch von der Handlung gefangen genommen wird sowie vom Horrormilieu einer real-life Hölle, die niemand so nah erleben möchte. Man kann die Nachtszenen bei den Gruben mit keinem anderen Wort als "Hölle“ beschreiben. Für ein Regiedebüt aus Ungarn beachtlich. Wenn Sie nicht Die Grauzone gesehen haben und den Ausdruck "Sonderkommando“ nicht kennen, bringt Sie dieser Film um.
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Ein Ambiente des Wahnsinns, ein lebendig gewordener Albtraum der Geschichte, die menschliche Existenz reduziert auf ein verrenktes Flüstern, Infinitive und einen verschwommenen Blick über die Schulter. Ein Film, nach dem 99 % aller Holocaust-Filme nur noch ein Übermaß an erbärmlichen Vetos sind. [Cannes 2015]
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So stark, wie mich die erste halbe Stunde beeindruckt hat, hat mich (bis auf das Finale) die folgende Stunde verstimmt, welche in die Länge gezogen ist und viele Situationen darstellt, die mir im Großen und Ganzen an den Haaren herbeigezogen schienen. Ich weiß natürlich nicht, wie es in den Vernichtungslagern ausgesehen hat, und es ist durchaus möglich, dass dort solche Dinge wirklich passiert sind, aber das ständige Transportieren des Körpers, die Wege von einer Abteilung zur anderen, die Ausreden… Für meinen Geschmack war das alles zu sehr fantastisch, was zu der realistischen Auffassung nicht gepasst hat. Trotz aller Kritik muss aber gesagt werden, dass der Film eine völlig fantastische Bearbeitung hat, eine ekelig beeindruckende Kamera und einen ausgezeichneten Ton, der zu Hause am Computer oder beim Fernseher nicht so gut wie in einem Kino voller mucksmäuschenstiller Menschen sein kann. Darüber hinaus wurde die Idee "wir zwingen das Publikum dazu, sich wie die Hauptfigur zu fühlen“ zu einer grausamen Perfektion gebracht. Falls ich irgendwann mal Mut habe, werde ich mir den Film noch einmal ansehen. Jetzt aber lieber wieder eine Komödie, bitte.
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Filmchallenge 2018 - Ungarn. Lange und möglicherweise nie habe ich einen Film gesehen, der so gedreht wurde, dass er mir überhaupt nicht entsprach und von dem mir überdies die Augen weh taten. Worin bestand der Sinn? Dass ich mir als Zuschauer wie in einem suggestiven und idiotischen Computerspiel vorkommen, wo ich nicht für eine Sekunde weiß, was mich erwartet, weil ich alles um mich herum verschwommen sehe und nur Gebrüll und Lärm höre? Hier sind der Regisseur und ich absolut aneinander vorbeigerauscht. Es hat sich für mich bestätigt, dass von der V4 Ungarn im Bereich Film das schwächste Glied ist.
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The wiping of vomit and blood and the removal of fresh corpses from the just-used gas chamber, the precisely organized loading of those corpses into furnaces, the constant dumping of ashes into the river; people reduced to mere numerical units, "pieces", worthless waste – killing as a manufacturing process. Killing as a perfectly lubricated and thought-out machine, whose puppets and operators in one – sonderkommando – have prolonged their lives by at least a few months, and who carry the corpses with complacency, without emotions and emotional outpourings (what else is left for them), as if they were operating a machine tool. And in that darkness of inhumanity and filth, like a faint glimmer of humanity, there’s the desire of one of the sonderkommando to bury – as civilized society should – one dead boy. A film that everyone should watch. Especially the fucked up Nazi dumbasses, who I'm under no illusions would be moved, but if even just one in a thousand said to themselves "God, what an asshole I am!", this movie would make sense. Only an idiot can "get bored" or "fall asleep", as I have read here a few times, with this overwhelming experience.
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(BE2CAN, Lucerna) I’m doubting between four, in recognition for its merits, and three for the experience. After all the hype from Cannes I was expecting more. It’s a different take on the monstrous machinery of the Holocaust from the point of view of a poor bastard who gets mixed up in it. The intention is clear, the execution is undoubtedly appropriate, but I’m not sure it’s enough for me in 107 minutes…
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A movie without the past and the future, which will be (not only because of this) described as a holocaust-style Come and See (1985). Thanks to the chosen format of "long scenes over the shoulder", it is unusually intense, suggestive (amazing sound work!) and gets under you skin very quickly and for a long time. Maybe too much, because it's constantly moving and it is so dynamic that the viewer (nor the character) will be sitting on the edge of his char all the time. What can happen is that the viewer becomes used to it by the end of the movie, although the horrors during the Sonderkommando shift are shown "seemingly accidentally", are sidelined and presented as a daily routine. But as a result it is even more terrifying and disturbing. No matter whether you become used to it or not and whether you can get over it or not, it is indisputable that Saul's son is one of the exceptions confirming the rule that the film's qualities and the importance and urgency of the theme form one functional unit, which rightfully deserves "festival fame". If nothing else, it is because such a view of the film depiction of the Holocaust through the industrialization of death was desperately needed, because although these events are captured in literature from time to time they are almost never depicted in a movie.
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Watching Son of Saul was such an intense and profound experience for me that I was unable to write an immediate comment about it. The filmmakers managed to create such a high level of authenticity within the genre that I consider surpassing it practically impossible. It's a naturalistic visit to hell as if you were suddenly immersed in hot water in a cauldron, and for almost two hours, you felt the devastating effects of sulfur, flames, and smoke on your body. Son of Saul captures 24 hours of the bitter existence of a Sonderkommando member in an extermination concentration camp. We observe the world through the eyes of a dulled and exhausted man who has experienced so much horror in recent months that, due to a defense mechanism of his psyche, he perceives the surrounding world as if in partial anesthesia through filters, completely detached. However, a meeting with a boy who miraculously survived being in the gas chamber awakens human emotions in him. Because his options are extremely limited, he clings to something that seems irrational at first glance, to an act that his fellow inmates do not understand. He does his best to organize a dignified farewell to the deceased in accordance with Jewish traditions, within the limits of what he can do. Son of Saul is an unpleasant and depressing film that cannot be recommended for casual viewing. It requires a certain level of sensitivity, and the ability to capture details and infer what is suggested. On the other hand, it is not deeply encrypted either, and reading some comments left me somewhat confused. Seriously, is it really that difficult to understand what happened with Saul's son and the rabbi? Personally, I consider it to be one of the most powerful film experiences ever. Overall impression: 95%.
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The European film event of the year, which after months of anticipation, and also due to its immediate status as a unique auteur work, left me with slightly mixed impressions. Formally, it's undoubtedly very impressive; the intimacy of the camera, which could be described as documentary-like, focusing on the immediate circle of the surrounding chaotic hell, the absence of music or any upbeat sounds, and finally the "stripped down" performance of the silent protagonist bring to the world of film a hitherto untamed, visually deliberately austere but overwhelmingly naturalistic view of the Nazi murder machine, so different from many Hollywood melodramas. The opening minutes will bring to their knees anyone capable of the least empathy. Unfortunately, the film lasts 107 minutes, during which it retains all of its exceptional character traits, but the script is not always enough to fully meet such high stylistic and ideological ambitions, and the subplots about the revolt and the actual running of Auschwitz somehow seep through the main thematic line in an indifferent, inconsistent and confusing way (which may be considered intentional, but I simply grew tired of this approach after the opening minutes). That said, the feeling of hopelessness and suffering is omnipresent and at least in this respect Son of Saul also fulfils its mission to perfection. 75%
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The interesting style of camerawork strongly reminded me of Resident Evil 4. I also liked the sound, which had a very intense effect on me, perhaps in connection with the camera. Otherwise, I was quite disappointed. Initially, the film felt very realistic to me. But the next thing I know, I'm watching the Sonderkommando in full action while the lead is standing in the middle of the room, staring blankly, and nothing’s happening. I was just waiting for one of the guards to go get him a coffee and a cigarette. Compared to similar films, it definitely loses out to The Grey Zone.
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I quite enjoyed the inner conflict of the main character in the first half because I actually experienced it too. I wondered for a long time if it was rational to devote my energy to a dead child in such moving circumstances ("because of the dead you forgot about the living"), only to realize later that the central character often really doesn't give a damn about any rationality. Son of Saul is an extremely intimate portrait of a broken man for whom the self-destructive and quite obviously irrational (given the situation) need for a ritualistic act becomes the only life purpose. The extremely evocative POV cinematography and (thankfully) mostly out-of-focus shots of human carnage are quite disturbing, and the atmosphere of pervasive evil and death radiates from the screen in a way that's not pretty. [80%]
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The strong ethical theme of the Holocaust was portrayed in a very unconventional way, which under normal circumstances I would be enthusiastic about, but somehow it didn't work here. I absolutely couldn't identify with the main character, for whom everything seemed to go too smoothly for my taste, despite not appearing particularly bright. I had strong feelings of disgust toward humanity from what the film showed in the Auschwitz concentration camp. However, it doesn't change the fact that I found that the plot dragged on until the very end, when, for a brief moment, during that one smile, I found the main character likable. (65%)
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