From March 12-21, the Boulder Jewish Film Festival takes over the Boedecker and Gordon Gamm Theater at The Dairy for a 10-night residency of 19 films. Picked by founding director, Kathryn Bernheimer, these 19 movies cast a wide net, from food — Deli Man; Dough; The Search for Israeli Cuisine — to civil rights activism — Rosenwald — and the long, dark shadow of the Holocaust — Son of Saul; Tunnel of Hope; To Life! — BJFF offers something for everyone.
But if one movie at BJFF should be required viewing, then Son of Saul is it. Not simply because it won this year’s Oscar for best foreign language film and the Golden Prix at the Cannes Film Festival, but because it is a stunning piece of cinema that asks the audience to bear witness to the atrocities that shape our world.
The Hungarian film opens on Saul Ausländer (Géza Röhrig) a Sonderkommando member at the Auschwitz concentration camp. German for “special unit,” the Sonderkommandos were Jewish prisoners tasked with disposing the bodies after mass executions and then cleaning and preparing the showers for the next group of victims. Saul silently helps prisoners strip while German soldiers bark orders. After the prisoners are locked away, Saul and his fellow Sonderkommandos collect the clothes, look for personal property of value and prep the staging room for the next slaughter. They do this task efficiently — all emotion drained from their souls long ago — until the screams from the showers rise to a deafening level, and the people inside try to claw their way back to safety. That is when Saul and the Sonderkommandos go to the doors and hold them shut while their brothers and sisters are gassed to death inside.
This is merely the first scene in a movie that catalogues the unbearable horror of history, yet it is one that must be witnessed. Not just by Saul, but by as many audience members as possible. As Saul holds that door closed, the look on his face is not just detachment and death, but confusion: How did I get here?
Director László Nemes drops the audience in the middle of Saul’s plight, foregoing scenes where we see Saul’s capture, dehumanization and eventual acceptance of his role in the camps. Nemes is not reconstructing a series of steps that led to this moment, but suggesting that it is possible to wake up one day and find the world burning. Nemes and cinematographer Mátyás Erdély shoot the entirety of Son of Saul in shallow focus, limiting our vision to Saul’s face with the events and actions behind him murky, fuzzy and just beyond vision. We know what is happening, but does Saul? Could he see what was happening before it was too late? It’s as if Nemes is asking: How did we get here?
Some movies come out when it best suits them, while others come out when it best suits us. As certain presidential candidates run platforms on jingoism and xenophobia, Son of Saul is a powerful reminder that things can get bad awfully quick if we’re not paying attention. Son of Saul demands that we sit up and do just that.
The Boulder Jewish Film Festival screens at the Dairy Center March 12–21, for tickets and show times visit thedairy.org.
Boulder Jewish Film Festival. March 12-21. The Boedecker Theater, 2590 Walnut St., Boulder, 303-440-7826. Tickets at thedairy.org.