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
AI - Artificial Intelligence
Creed
Wisdom
1 min read

Forget AI: I want a computer that says ‘no’

Chatbots only tell us what we want to hear. If we genuinely want to grow, we need to be OK with offence

Paul is a pioneer minister, writer and researcher based in Poole, Dorset.

A person hold their phone on their desk, a think bubble from it says 'no'.
Nick Jones/Midjourney.ai.

It is three years since the public release of Open AI’s ChatGPT. In those early months, this new technology felt apocalyptic. There was excitement, yes – but also genuine concern that ChatGPT, and other AI bots like it, had been released on an unsuspecting public with little assessment or reflection on the unintended consequences they might have the potential to make. In March 2023, 1,300 experts signed an open letter calling for a six month pause in AI labs training of the most advanced systems arguing that they represent an ‘existential risk’ to humanity. In the same month Time magazine published an article by a leading AI researcher which went further, saying that the risks presented by AI had been underplayed. The article visualised a civilisation in which AI had liberated itself from computers to dominate ‘a world of creatures, that are, from its perspective, very stupid and very slow.’ 

But then we all started running our essays through it, creating emails, and generating the kind of boring documentation demanded by the modern world. AI is now part of life. We can no more avoid it than we can avoid the internet. The genie is well and truly out of the bottle.  

I will confess at this point to having distinctly Luddite tendencies when it comes to technology. I read Wendell Berry’s famous essay ‘Why I will not buy a computer’ and hungered after the agrarian, writerly world he appeared to inhabit; all kitchen tables, musty bookshelves, sharpened pencils and blank pieces of paper. Certainly, Berry is on to something. Technology promises much, delivers some, but leaves a large bill on the doormat. Something is lost, which for Berry included the kind of attention that writing by hand provides for deep, reflective work.  

This is the paradox of technology – it gives and takes away. What is required of us as a society is to take the time to discern the balance of this equation. On the other side of the equation from those heralding the analytical speed and power of AI are those deeply concerned for ways in which our humanity is threatened by its ubiquity. 

In Thailand, where clairvoyancy is big business, fortune tellers are reportedly seeing their market disrupted by AI as a growing number of people turn to chat bots to give them insights into their future instead.  

A friend of mine uses an AI chatbot to discuss his feelings and dilemmas. The way he described his relationship with AI was not unlike that of a spiritual director or mentor.  

There are also examples of deeply concerning incidents where chat bots have reportedly encouraged and affirmed a person’s decision to take their own life. Adam took his own life in April this year. His parents have since filed a lawsuit against OpenAI after discovering that ChatGPT had discouraged Adam from seeking help from them and had even offered to help him write a suicide note. Such stories raise the critical question of whether it is life-giving and humane for people to develop relationships of dependence and significance with a machine. AI chat bots are highly powerful tools masquerading behind the visage of human personality. They are, one could argue, sophisticated clairvoyants mining the vast landscape of the internet, data laid down in the past, and presenting what they extract as information and advice. Such an intelligence is undoubtedly game changing for diagnosing diseases, when the pace of medical research advances faster than any GP can cope with. But is it the kind of intelligence we need for the deeper work of our intimate selves, the soul-work of life? 

Of course, AI assistants are more than just a highly advanced search engines. They get better at predicting what we want to know. Chatbots essentially learn to please their users. They become our sycophantic friends, giving us insights from their vast store of available knowledge, but only ever along the grain of our desires and needs. Is it any wonder people form such positive relationships with them? They are forever telling us what we want to hear.  

Or at least what we think we want to hear. Because any truly loving relationship should have the capacity and freedom to include saying things which the other does not want to hear. Relationships of true worth are ones which take the risk of surprising the other with offence in order to move toward deeper life. This is where user’s experience suggests AI is not proficient. Indeed, it is an area I suggest chatbots are not capable of being proficient in. To appreciate this, we need to explore a little of the philosophy of knowledge generation.  

Most of us probably recognise the concepts of deduction and induction as modes of thought. Deduction is the application of a predetermined rule (‘A always means B…’) to a given experience which then confidently predicts an outcome (‘therefore C’). Induction is the inference of a rule from series of varying (but similar) experiences (‘look at all these slightly different C’s – it must mean that A always means B’). However, the nineteenth century philosopher CS Pierce described a third mode of thought that he called abduction.  

Abduction works by offering a provisional explanatory context to a surprising experience or piece of information. It postulates, often very creatively and imaginatively, a hypothesis, or way of seeing things, that offers to make sense of new experience. The distinctives of abduction include intuition, imagination, even spiritual insight in the working towards a deeper understanding of things. Abductive reasoning for example includes the kind of ‘eureka!’ moment of explanation which points to a deeper intelligence, a deeper connectivity in all things that feels out of reach to the human mind but which we grasp at with imaginative and often metaphorical leaps.  

The distinctive thing about abductive reasoning, as far as AI chatbots are concerned, lies in the fact that it works by introducing an idea that isn’t contained within the existing data and which offers an explanation that the data would not otherwise have. The ‘wisdom’ of chatbots on the other hand is really only a very sophisticated synthesis of existing data, shaped by a desire to offer knowledge that pleases its end user. It lacks the imaginative insight, the intuitive perspective that might confront, challenge, but ultimately be for our benefit. 

If we want to grow in the understanding of ourselves, if we genuinely want to do soul-work, we need to be open to the surprise of offence; the disruption of challenge; the insight from elsewhere; the pain of having to reimagine our perspective. The Christian tradition sometimes calls this wisdom prophecy. It might also be a way of understanding what St Paul meant by the ‘sword of the Spirit’. It is that voice, that insight of deep wisdom, which doesn’t sooth but often smarts, but which we come to appreciate in time as a word of life. Such wisdom may be conveyed by a human person, a prophet. And the Old Testament’s stories suggests that its delivery is not without costs to the prophet, and never without relationship. A prophet speaks as one alongside in community, sharing something of the same pain, the same confusion. Ultimately such wisdom is understood to be drawn from divine wisdom, God speaking in the midst of humanity   

You don’t get that from a chatbot, you get that from person-to-person relationships. I do have the computer (sorry Wendell!), but I will do my soul-work with fellow humans. And I will not be using an AI assistant. 

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