As Röhrig escorts hundreds of innocent men, women, and children into the gas chambers, his focus remains on the body of a little boy, a bastion of innocence in this depraved milieu. Röhrig’s search for a Rabbi to provide the boy with a proper burial takes center stage in the film’s conflict, and his noble ambition floods the screen with so much hopeless emotion that the viewer begins to forget that his quest is merely the invention of a man who has completely lost his mind in an unforgiving landscape. Röhrig’s quest to save the corpse of a young boy from the furnace creates an instantly sympathetic character and yet upholds the absurdity and imminent futility of his agenda. Viewers follow Saul as he works for a special unit of Jewish prisoners who assist the Nazi’s in cleaning gas chambers, burning bodies, and pouring ashes into a river. With an absolutely magnificent lead performance by Géza Röhrig portraying the titular protagonist, László Nemes’ feature debut is a claustrophobic descent into hell that never lets up its tension. Guttural, nauseating and a complete tour de force of unparalleled cinematic prowess, SON OF SAUL will long be lauded as one of the most engrossing Holocaust pictures, and ought to remain in the pantheon of sound design accomplishments as an impeccable masterpiece of auditory world-building.
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