holocaust
“There was nobody but me who knew as much as I knew, and so I…
The uber-formalistic approach of The Zone of Interest may strike some as unfeeling and morally empty, but it’s an authentic film.
I Am Here is not a perfect film, but it accomplishes what it sets out to do, which is to allow the world to honor Ella Blumenthal and share her story.
Resistance is a film that struggles to find its footing, though Eisenberg is always there to break its fall – for better or worse.
By elegantly twisting the tropes of both the road movie and the war movie, The Last Suit tells a familiar story in a fresh manner.
Operation Finale is pensive and provocative, but it also feels a desire to thrill viewers remaining limited by its adherence to the spy genre.
We spoke with writer and director Boaz Yakin about his upcoming horror film Boarding School, whose story transcends that of a traditional horror.
Boarding School follows in suit with the continued reinvigoration of the horror genre, breaking away from the cliché and introducing new scares.
We spoke with Sir Ben Kingsley about his latest film Operation Finale, taking on the portrayal of a Nazi official and his continued work to keep the memory of the Holocaust alive.
Red Trees is a poignant look at the Holocaust through the eyes of a survivor; we also spoke with director Marina Willer.
Despite bringing to life some previously unseen perspectives on the holocaust, The Zookeeper’s Wife is far from faultless.
The Last Laugh is a profound documentary that somehow warmly weighs the need for laughter with the immense tragedy that was the Holocaust.
In What Our Fathers Did: A Nazi Legacy two sons are brought together by a shared legacy, the legacy mentioned in the title. Both are the sons of high-ranking Nazi officers.
Many filmmakers have made movies about the Holocaust, yet so few are able to portray the atrocities without either becoming exploitative by staging fictionalised versions of some of the worst scenes in recorded history, or by sanitising the events in order to ensure that audiences aren’t left shocked and devastated. Austrian director Michael Haneke has frequently gone on record to claim that the idea of making a film about the holocaust is “unspeakable”, criticising the way a movie like Schindler’s List emotionally manipulates the audience when the subject matter alone should leave every sane person feeling depressed that something like this happened in recent history. Haneke argues that Steven Spielberg staging a sequence where concentration camp prisoners are marched to the shower and then building suspense from whether or not water will come out of the shower heads is the most offensive kind of exploitation; it trivialises a shocking moment of history in order to create nothing more than an action set piece.
I first saw Steven Spielberg’s Saving Private Ryan in the early 2000s; it was a VHS copy playing on a big old JVC television that had a similar depth to a Toyota Aygo. I have since seen Saving Private Ryan a large number of times, but my reaction to its first 25 minutes remains unchanged, a reaction of shock, recoil and deep admiration for the people who executed this excellent, transformative piece of filmmaking. My knowledge of WW2 was minimal at this time, but I roughly knew the basics.