Son of Saul (2015)

The camera stays close to a Jewish prisoner forced to work in Auschwitz, leaving much of the surrounding extermination machinery blurred or beyond the frame. Tamás Zányi layers orders, languages, movement and cries into a space wider than the image permits. The result is deliberately disorienting and intensely distressing, rather than an exercise in identifying clever effects. Listening reveals the scale and simultaneity of events that the narrow visual perspective cannot encompass.