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
America
Church and state
Creed
Politics
6 min read

Trump is the new Constantine - but he's no Saviour

Trump’s second coming invites imperial comparisons. Are they accurate?

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A montage shows Donald Trump as a Roman emperor leaning on a sword
Pax Americana.
Reddit.

After years of polarised politics, nepotism from previous rulers and disputed claims to power, an unpredictable and egotistical leader believes that God had saved him to make the nation great again. He is acclaimed as the most powerful leader in the world and instantly surprises everyone by issuing a raft of disruptive new measures to radically change the way society functions and announces that he is going to target anti-Christian bias in society. 

Sounds familiar?  

No, it’s not Donald Trump. It is the fourth century ruler of the Roman empire – Constantine the Great. And the parallels are striking.  

Constantine, the son of a Roman general and a Balkan barmaid, was the first Christian Roman emperor. Before then, all emperors were pagans, worshipping the Greek and Roman gods. In the early 300s AD, the emperor Diocletian launched a period of intense persecution of Christians, aimed at suppressing their subversive influence. After it died down, and after years of political infighting within the empire, Constantine marched on the capital and defeated his enemy Maxentius at the battle of the Milvian Bridge outside Rome. Just before the battle, Constantine had a dream in which he saw a sign of something that looked like a cross in the sky, with the tagline “in this sign, conquer”. From that time onwards, he believed that God had chosen him for this direct purpose – to bring peace to the empire by conquering its enemies, internal and external, under the banner of Christianity.  

After his accession Constantine, like Trump, introduced new economic policies to reverse rampant inflation, restructured government, and strengthened military capacity to deter the empire’s enemies. He also started to give privileges to the until-now persecuted Christians. Paganism, the ‘official’ religion of the empire was increasingly relegated to second place. Churches were granted land on which to build new edifices, and gatherings of Christian leaders became commonplace, some of which he presided over, such as the Council of Nicaea which took place in 325 AD, 1,700 years ago this year. Christian priests were excused from public duties to give themselves to their prayers. Crucifixion was abolished as a form of execution. Sunday became a weekly holiday, pagan practices were outlawed in public.  

Historians have debated Constantine’s motivation for years. Was he a genuine Christian, wanting to advance the faith by giving the church a good run at converting the empire? Was he a boon for the church in releasing it from the burden of persecution? Certainly, at the time, many Christians were delighted, enjoying their new privileges and access to the imperial court like wide-eyed pastors invited to the White House. Eusebius, the great historian of the early church wrote: “in every city the victorious emperor published decrees full of humanity and laws that gave proof of munificence and true piety. All tyranny had been purged away.” It could be the voice of a Southern Baptist.  

Yet on the other hand, Constantine was irascible, unpredictable and vindictive. He had his second wife, three brothers-in-law, his eldest son and his father-in-law executed.  

His vanity extended to renaming the old city of Byzantium, newly made the capital of the empire after himself – Constantinople. Was he cynically using the growing cultural force of Christianity to bring unity to a divided and fragmenting empire? Some historians suggest that in doing so, he fatally changed the nature of Christianity. Constantine was exactly the kind of military messiah that first century Jews had expected, yet one totally different from the crucified rabbi from Nazareth.  

Which was it? It's hard to tell. He certainly promoted the Christian faith and gave it new freedoms. Yet, although he presided over the Council of Nicaea, with its famous decree that Christ shared the same nature (‘consubstantial’ was the technical term) as God the Father, there is little mention of Jesus in Constantine’s religion. He sometimes seems to have thought of himself as the Saviour of the Church rather than Christ, with the watershed of history not in the first century with the victory over sin and death in the Resurrection of Jesus, but in the fourth century with his own victory over Maxentius. 

For some historians, the Christian church was originally a counter-cultural movement, offering a radical new vision of life, favouring the poor over the rich, the weak over the powerful, centred on the crucified Jesus. After Constantine, Christianity became centred on a majestic ruler of the heavens and the earth. Christ the Pantokrator, the image of Christ in glory found in Orthodox churches around the world replaced images of Christ on the cross. This was, they suggest, not Constantine being formed into the image of Christ, but Christ being conformed to the image of Constantine.  

Christians might be glad of the opportunities that a Trumpian world might offer. But they need to be careful in what they wish for 

The similarities with Donald Trump will be obvious, even if different readers will vary on how they see the extent of the likeness. They both favoured Christianity even though their own personal faith is hard to pin down. They can both be ruthless and vindictive towards those that cross them. They are not afraid to tear up the rule book and adopt new policies that shake up the established order.  

So, what might the story of Constantine have to tell us as we consider the second coming of Donald Trump?  

Many Christians rejoiced at Trump’s re-election. At his inauguration, Franklin Graham, like Eusebius many centuries before, pronounced that God had ‘raised up’ the new President. Trump himself claimed that God had saved him through the assassination attempt last year to Make America Great Again. Others see it as a disaster, offering a ruler of dubious character who looks nothing like Jesus. 

Constantine was, on balance, a mixed blessing for the church. His rule did enable the church to thrive. It gave it a position within society that made possible a network of churches, parishes, dioceses that helped its message spread far and wide. It was no doubt easier to be, and to become a Christian under Constantine than under his anti-Christian predecessors. Yet at the same time, he subtly changed the shape of Christianity and made the Church the faith of the powerful, even though Christianity has always flourished more among the poor and struggling who know they need help.  

The Church under Trump might be glad of laws and cultural moves that make it easier to practice and promote their faith. Yet the danger of allowing Trump rather than Jesus to determine the Church's vision of leadership and lordship, remains. In subsequent years, while making the most of the opportunities that a newly Christianised empire gave, the church also needed figures like Ambrose, the fourth century Bishop of Milan who was willing to ban the emperor Theodosius from church when he committed crimes in the name of the empire. It also needed the radical Christianity of the desert fathers and mothers who withdrew to remote places to pray and live a radically alternative lifestyle from the increasingly soft and easy Christianity of city life. As Paul Kingsnorth recently reminded us, “the monks built the West, just as surely as the soldiers did, and they built the more enduring part.” 

Christians might be glad of the opportunities that a Trumpian world might offer. But they need to be careful in what they wish for. Followers of the crucified rabbi from Nazareth need to be wary of hitching their wagon to any one political ruler. There is only one messiah after all. 

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