![son of saul 2015 son of saul 2015](https://1.bp.blogspot.com/-HrK6RErLvKY/Xpa6KW5djvI/AAAAAAAAD6E/svqILjpiiyEUh0kV7ETpzw-o7sfGG7YWgCLcBGAsYHQ/s1600/SONOFSAUL.jpg)
Le film est en 4/3 et le film est à 95% (ou peut-être 97%) filmé derrière l'épaule du rôle principal et on sent bien que pour les 5 ou 3% restants, ça emmerde le réalisateur de filmer autre chose que l'épaule de l'acteur ou sa brave tronche de prisonnier. Difficile donc de décrire cette "palme" mais nous tenterons néanmoins de le faire à nos risques et périls. Mais souvent, la curiosité est un vilain défaut et on comprend pourquoi ici. Pourtant, le sujet qui concerne les camps de la mort suscite évidemment une curiosité certaine. Bref, ça ferait mal au cul, comme on dit. Remarquez, il aurait été doublé que ça aurait été un gâchis impardonnable : il n'y a rien de pire que de mobiliser nos meilleurs doubleurs pour doubler. Surtout avec un film hongrois non doublé bien entendu. Remarquez, il aurait été doublé que ça aurait été un gâchis impardonnable : il Il faut toujours aborder avec précaution et circonspection les "palmes" du Festival de Cannes il faut s'y préparer psychologiquement, il faut rester fort. Il faut toujours aborder avec précaution et circonspection les "palmes" du Festival de Cannes il faut s'y préparer psychologiquement, il faut rester fort.
![son of saul 2015 son of saul 2015](https://i.ytimg.com/vi/cGeRMNhJB2A/mqdefault.jpg)
I just wish that I liked it as much as I appreciate it. Overall the film cries out to be seen (the critics seem to have been inventing superlatives for it).
![son of saul 2015 son of saul 2015](https://m.media-amazon.com/images/M/MV5BMTkxNjQ1MjMxN15BMl5BanBnXkFtZTgwMTY3NTE3NTE@._V1_.jpg)
The first, where Saul finds himself stripped naked awaiting execution and the second involves an escape. There are two standout sequences, however. I’m sure this is intentional and in keeping with the chaotic context but, as cinema it is frustratingly unsatisfying. Likewise, the frenetic and dizzying camera movements don’t always allow time to process exactly what is happening. Long tracking shots, out of focus imagery and an in your face claustrophobic feel becomes somewhat overwhelming. Told from Saul’s viewpoint almost totally, one watches intently but real emotional involvement is kept at bay. It is precisely this unanswered question that causes confusion in the narrative which, in turn, has an overall detrimental impact. The ambiguity surrounding whether or not the boy is actually Saul’s son casts the actions of the protagonist in a contrasting light, depending on viewer interpretation. From this point in, although the boy subsequently dies, Saul becomes obsessed by having him properly buried by a Rabbi. After one such routine a young boy is discovered, barely alive, having survived the gas. Here his daily work is to herd hundreds of his fellow race naked into the gas chambers and subsequently remove the bodies, effecting a clean-up of all traces of the horror. This unique perspective on the holocaust atrocities has us following Saul, a Hungarian Jew, working as a Sonderkommando at Auschwitz/Birkenau. This unique perspective on the holocaust atrocities has us following Saul, a Hungarian Jew, working as a Son of Saul is one of those important films that comes so steeped in the injustices and horrors of its history that one feels positively guilty about saying anything negative about it. With its blurred peripheries and repeated close-up shots of Saul’s hollow stare, the film instead self-consciously asks us to look, with a certain complicity, through eyes of the witness – a witness we know is ‘already dead’.Son of Saul is one of those important films that comes so steeped in the injustices and horrors of its history that one feels positively guilty about saying anything negative about it. There is no redemptive story of survival here. If to be a voyeur is to gain some form of pleasure from viewing the suffering of others -a pleasure, as Susan Sontag noted, that in part derives from the knowledge of the spectator’s own distance and safety from what is being framed -this is deflated by the film’s immersive techniques. "This is no redemptive story of survival." Indeed, strikingly, unlike these earlier attempts to depict the Holocaust, Nemes’ film is almost devoid of music - so much so that when it does occur, it feels noticeably alien and almost jarring, such as in the office of the SS, or the grotesquely upbeat tunes in the opening sequence, which sees new arrivals being moved towards the gas chambers. In this way, Nemes also avoids sentimentalising, or aestheticizing, the violence he represents - a charge sometimes levelled at films such as Schindler’s Listor The Pianist.