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. 

Explainer
Creed
5 min read

Creator or creature – a centuries old question of identity

Why does a 1,700-year-old creed still matter?

Frances Young is Emeritus Professor of Theology at the University of Birmingham. 

An abstract depiction of The Creation shows an aperture in a cloud like formation over water.
The Creation, James Tissot.
James Tissot, Public domain, via Wikimedia Commons.

2025 will be the 1,700th anniversary of the Nicaea Creed. In October 2024, Prof. Frances Young gave the inaugural lecture of the McDonald Agape Nicaea Project at St Mellitus College.

 

In the year 325CE the first ever “ecumenical” (= “worldwide”) council of bishops assembled at Nicaea near Constantinople (now Istanbul). It was summoned by Constantine, the first Roman Emperor to convert to Christianity and patronize the Church. Why does this seventeenth centenary of an obscure discussion around complex words matter to us today? 

The outcome of the Council was agreement to the text of a creed, and banishment of a pesky priest named Arius, whose bishop disapproved of his teaching. Unfortunately, some other bishops remained sympathetic to something like Arius’ viewpoint, and for political reasons Constantine was desperate for Church unity. Argument over the issues went on for half a century, until another Council in 381CE reaffirmed the position established in 325CE and agreed the version labelled “the Nicene Creed” and still used in Church liturgies across the world today. 

The controversy was basically about the identity of the pre-existent Word or Son of God incarnate in Jesus Christ. Nicaea established that the Son was “of one substance” (homoousios) with the Father – in other words, he was fully God in every sense of the word. But for many traditional believers at the time this was difficult to accept. 

The common sense of the culture thought in terms of a “chain of being.” Most people in the Roman Empire were polytheists – there were loads of gods: Mars, god of war, Nepture, god of the sea, and so on. Each city, each ethnic group, had its own god, as did every family, every interest group, every burial society – you name it. But generally there was a sense that above all these was the Supreme God, who was worshipped indirectly through worship of these lower gods, and below them were all sorts of nature spirits, daemons, benign and malign, then souls incarnate in human persons, then animals, even vegetables as living entities, and finally inert matter like earth and stones, at the bottom of the hierarchy or chain of being. 

Jews identified their God with the Supreme God and insisted the one God alone should be worshipped. But they also imagined a heavenly court of archangels and angels, then below that the souls of the righteous, and so on in a somewhat parallel hierarchy. No surprise then that Christians assumed a similar picture: God, then the Son of God, then the Holy Spirit, then archangels and angels, then souls, and so on in a hierarchical ladder. 

But in the second century Christians had argued their way to the idea of “creation out of nothing.” Many non-Jewish thinkers, including some early Christians, followed Plato, conceiving creation as the outcome of Mind (the Demiurge or Craftsman) shaping Matter into whatever Forms or Ideas were in mind. But other Christian thinkers argued that God was not a mere Craftsman who needed stone or wood to work on like a sculptor – God produced the Matter in the first place. This then triggered a full-blown critique: God did not create out of pre-existent Matter or there would be two first principles; God did not create from God’s own self or everything would be divine; so God must have created out of nothing. 

Now try to fit that to the chain of being: where do you draw the line between God the Creator and everything else made out of nothing? This was the issue which surfaced in the so-called Arian controversy. What we might call the “mainstream” remained wedded to the hierarchy, not least because of earlier controversies about God’s monarchia. The word did mean “monarchy” – single sovereignty; but arche could mean “rule” or “beginning,” so monarchia also referred to the single first principle of all that is. It was natural to attribute monarchia to God the Father, a view that worked OK with the hierarchy. But some had suggested that the one God 'changed mode', as it were, appearing now as Father, now as Son, now as Holy Spirit, taking different roles in the overarching scriptural story. This suggestion was mocked as all too similar to the pagan god, Proteus, who in mythology kept changing shape. It is even possible that that key word homoousios had been condemned along with this “Modalist” view.  

Traditionalists were suspicious. The first historian of the Church, Eusebius of Caesarea, was present at Nicaea, and wrote a somewhat embarrassed letter to his congregation explaining how he had come to agree to this formula. Even Athanasius - the one who would come to be regarded as the staunch defender of Nicaea - largely avoided the term for a quarter of a century, though that does not mean he did not identify the principal issue. He campaigned hard and ended up in exile five times over. The fundamental issue was whether Christ was God incarnate or some kind of divinised superman, or a semi-divine mediating figure, a created Creator. Arius is supposed to have said, “there was a when he was not,” even though he was “the first and greatest of the creatures” through whom God created everything else. 

So why does it still matter? Four simple reasons:

Because it was basically about identity, and the question of Christ’s identity still matters. 

Because we still find people treating Jesus Christ as superhuman – not really one of us, or semi-divine – not God in the same sense as the God the Father. If we are to be ecumenical, across different denominations today but also across time, we need to affirm that God’s Son and Spirit are truly of the one God. As early as the second century the first great Christian theologian, Irenaeus, characterized the Word and the Spirit as God’s two hands – we can imagine the Trinity reaching out first to create and then to embrace us with God’s redeeming love. 

Because it means we can look to Jesus and there catch a glimpse of God’s very own loving face - not just a dim image but the reality itself.

And because only God could recreate us in God’s own image and raise us to new life. 

  

To find out more about the McDonald Agape Nicaea Project being held by St. Mellitus College in London, come and join the public lectures, or look out for other Nicene celebrations in 2025. 

For more information or to register for these events, you can visit the Nicaea Project website  

Watch the lecture