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. 

Column
Belief
Creed
Education
1 min read

Theology isn’t just for believers – and that’s the problem

As spiritual curiosity among the young rises, let’s change how they explore it

George is a visiting fellow at the London School of Economics and an Anglican priest.

Quizzical-looking students look across a tutorial to others.
Nick Jones/Midjourney.ai.

The Cambridge don told us calmly but firmly in answer to a question, probably mine, that: “You don’t need to have a commitment to study theology here, but it helps.” It was 1972 and I looked around me. I was surrounded by young blokes, dare I say it, of a certain type – tall, pale-though-uninteresting, spotty and a bit chinless. Very much like me in fact in those respects but unlike me, I thought, in one key respect: Blimey, they’re all going to be vicars! 

I ran a mile – well, about 100 – to study something more fun at a redbrick, something that was also being studied by young women, which was important for me at that moment. 

Little did I know that I’d take a theology degree some 30 years later, when I trained for priesthood. And, as it happens, very much alongside women, though this column really isn’t about that. 

What it is about is the lingering academic assumption that theology is for the committed, the faithful; that it’s vocational and for people who are called to make a career of it. I wanted to study it as an adolescent only because I was academically interested (yes, how we laugh now). 

I’m with C.S. Lewis when he says faith is either a fraudulent trick or an absolute truth but can’t be anything in between (“He has not left that open to us”). Either way, I thought, that’s a great story, a curiosity for stories that led me to journalism, since the latter choice – absolute truth – seemed to be the matriculation requirement for theology at university. And the idea that theology is for committed Christians still prevails.  

It’s been on the news agenda again lately that religious studies at A-level and theology in further education have been collapsing as course choices, even as Gen Z (18-28) has shown an increasing propensity for a return to faith and church-going – the “quiet revival”. 

That apparent paradox may be explained in a number of ways. The current college generation may not equate religious interest with academic study (as I didn’t, in a way). It may be that young men, in particular, are drawn to church by a resurgent conservative Christian nationalism. Or it may simply be that a spiritual consciousness is seen as a self-improvement technique that gets dropped by their thirties. 

But there’s another possibility. Maybe we’re just not teaching theology very well. Maybe, perish the thought, we’re making it boring. Perhaps it’s like wanting to make music as a child and being sat down in front of a blackboard to be taught theory, bars and crotchets and whatnot. 

Maybe the young are interested in the subject but not in the Church Fathers, scriptural hermeneutics and ancient Greek. They may be intensely interested in whence our western ethics, morality and culture derive, but then they have history and philosophy for that. Theology is dying on its feet even as the young are wishing to make it live again. 

I have a proposed solution and it’s this: Contextual Theology. This is a school that examines the meaning of religious faith in its contemporary cultural and social contexts. It values human experience – otherwise revelation – as a valid theological source and recognises that scripture emerges from its own cultural circumstances and must be viewed with reference to our own.  

What Contextual Theology emphatically isn’t is an attempt to make theology “fit” post-modern mores and fads. The fount of divinity is unchangeable – impassable, as theologians say – but we’re invited to interpret it through the prism of the world in which we live. It’s not so much about how theology works in the world as how theology makes the world work.  

Contextual Theology is as demanding as it is illuminating. It’s the degree I took, as it happens, when I trained for priesthood in the early Noughties and it never did me any harm (Discuss). 

This isn’t a replacement theory for classical theology. We need to understand it in its ancient context to re-interpret it in our technocratic political climate. The curiosity of our young generation seems to suggest that’s an appealing prospect. 

Yet search for a Contextual Theology degree course and you search in vain. They’re only available on courses for ministerial training (like mine), validated by a university rather than taught by it. That means you can only really study Contextual Theology if you’re training for ministry. Which takes me back to that summer of 1972. 

As Graham Tomlin, of this parish, asserts, we need theologians as well as ministers if the quiet revival among the young is to be properly supported. But we need theologians of all sorts, classical and contextual. 

I like to think of the theologian who, struck by lightning, arrives at the Pearly Gates. “But I taught that God sends famine and floods on all those who sin,” complains the theologian. “Ah,” replies St Peter, “but I think you took him out of context.” 

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