![]() The Sonderkommando occupy an especially painful and contested place in the history of the Holocaust. Nemes, who favors a hand-held, intimate, in-the-moment shooting style, decidedly does not. Here I should step back a bit, though Mr. ![]() ![]() It takes us to the very door of the gas chambers, in the close company of Saul Auslander ( Geza Rohrig), a Jewish inmate who is a member of the camp’s Sonderkommando (special commando) unit. The camera doesn’t just survey the barracks and the guard towers, the haggard prisoners and brutal guards. We are in a Nazi death camp, and really in it, to a degree that few fictional films have had the nerve to attempt. Nearly square, it evokes an earlier era, when all movies looked this way, and also emphasizes the claustrophobia of the story and the setting. The shape of the screen is unusually narrow in “Son of Saul,” the 38-year-old Hungarian filmmaker Laszlo Nemes’s debut feature.
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