Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself. 

Article
Creed
Psychology
4 min read

Worry: bug or feature of our lives?

The ancient root of common or garden worrying.

Andy is a vicar-in-training in Durham.

A woman rubs her face in worry, while siting at a screen.
Vasilis Caravitis on Unsplash.

Climate change, smartphones, a loss of social cohesion: these are just some of the potential culprits for an oft-discussed, much worried about, anxiety epidemic. But what if our worries can’t be fully explained by any particular feature of the modern age? What if worry is in fact an ancient problem that afflicted the first  century no less than the twenty-first? What would that mean for how we should respond?

I’m not a psychologist, or a social scientist, but I am a common or garden worrier. And worry worms its way into my life through the gap between responsibility and control. 

I first encountered this at work. As someone who organised events, I felt responsible (and would be held responsible) for how many people signed up. But I soon came to the painful realisation that I didn’t control how many people signed up. I had responsibility but not control - and worry wormed its way in through that gap. And that didn’t seem fair to me - it seemed like a “bug” that should be fixed. Maybe my bosses just needed to relax a bit. That way my responsibility would shrink to match my control. Or maybe I needed better comms, better marketing - some way of making sure people came.  That way my control would expand to match my responsibility. Either way, the gap between responsibility and control should be eliminated somehow.

And then I had kids - three of them. As a dad I am responsible for my children. But I am not in control of them - sometimes I can barely get them to eat their tea. And so worry worms its way in - through that gap between responsibility and control. But I began to realise that when it comes to my kids, I just can’t close the gap and I shouldn’t even try. To abdicate responsibility or to seek control are just two different flavours of failure. The gap between them isn’t a bug in the code of life, it’s a feature. It’s part of being human, and so human flourishing means learning to live well with, even in, that gap. But how?

In the earliest record we have of Christians trying to explain themselves, a book of the Bible called (confusingly) Acts, we follow Paul, convert to Christianity, to Athens, the cultural capital of the ancient world. And there he meets people different from us in almost every way… except that like us they are worriers. And they are worried because they feel responsible for something they can’t control. Paul finds an altar with this inscription “to an unknown god”. What makes people erect an altar to an unknown god? The worry that worms its way in between responsibility and control. We’re not sure if we know about all the gods - we’re not in control. But that god we don’t know about might hold us responsible. So let’s try to close the gap by erecting an altar to a god we don’t even know.

Paul offers a better solution - to them and to us. He’s invited to give a speech to the leaders figures of Athens, but he doesn’t present his audience with a more sophisticated technique for closing the gap between responsibility and control. Rather, he introduces them to his God, to the truth that allows us to flourish in that gap. This God, Paul says, marks out the appointed times and places of all people: that is, he is in control of all things. This God, Paul says, wants everyone to seek him and find him: that is, he wants the best for all people. This God, Paul says, doesn’t need anything from us: that is, our responsibility is his invitation to be part of what he’s doing in the world. Know this God, trust this God, Paul says, and you can see the gap between responsibility and control as a feature of life and not a bug. You can flourish in and not worry about the gap.

But how does that work in the midst of tea-time tantrums and the day-to-day worries of life? Well for me, on a good day, it works a bit like this. When I’m confronted with the reality of quite how much is beyond my control, I’m not faced with chaos. I’m just faced with the fact that I’m not God, but God is - and nothing is beyond his control. And the God who is in control when I’m not loves my kids more than I do, better than I do. And he doesn’t need me. He’s not delegated responsibility for my kids to me because he’s too busy to look after them himself. I’ve been given the responsibility of being their dad so I get to share in the joy of watching them grow into all they were made to be. The gap is still there - I’m really responsible and I’m really not in control. But maybe I’m ok with that.

There may well be certain features of the modern age that heighten our anxiety. But the people of first century Athens didn’t have smartphones or face climate change and they still worried. Because they felt responsible for something they didn’t control, just like we do. It’s an ancient problem, a feature not just of our culture, but of being human. And what if an ancient problem needs an ancient solution?

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you enjoy Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief