A Jewish-Hungarian concentration camp prisoner sets out to give a child he mistook for his son a proper burial.A Jewish-Hungarian concentration camp prisoner sets out to give a child he mistook for his son a proper burial.A Jewish-Hungarian concentration camp prisoner sets out to give a child he mistook for his son a proper burial.
- Won 1 Oscar
- 65 wins & 61 nominations total
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaDuring the preparation, director László Nemes, cinematographer Mátyás Erdély and production designer László Rajk made a pledge to stick to certain rules, or a "dogma", which included:
- The film cannot look beautiful.
- The film cannot look appealing.
- We cannot make a horror film.
- Staying with Saul means not going beyond his own field of vision, hearing, or presence.
- The camera is his companion, it stays with him throughout this hell.
- GoofsThe short text at the beginning says, that the members of the 'Sonderkommando' were killed after 3 months, but this is a simplification of the more complicated history. While it's correct that these men were supposed to be killed and replaced after a few months, in some cases they were killed much earlier and in other rare cases they could survive for over 2 years, like Filip Müller. This depended mostly on the skills of the individual 'Sonderkommando' slave worker, who was sometimes needed by the SS to train the new 'Sonderkommando' members, but also on pure coincidence and luck.
- Quotes
Abraham Warszawski: You failed the living for the dead.
Saul Ausländer: We are dead already.
- ConnectionsFeatured in 73rd Golden Globe Awards (2016)
- SoundtracksDream Faces
Written by William Marshall Hutchison
Performed by Elizabeth Spencer
Featured review
This movie is not taken on lightly as an audience member.
To classify it as 'entertainment' would certainly be wrong because the subject matter is so uncompromisingly challenging.
I wanted to love it unreservedly for the bravery of its content but I'm afraid I was left a little cold.
The film is shot in square format (possibly 4:3) which is immediately disarming and unusual (the last time I saw this was in the very different Wes Anderson's Grand Budapest Hotel) and it's used effectively because it gives the viewer a voyeuristic look into the mayhem that is Dachau where the movie is set. It also helps the director from a budgetary point of view because it eschews the need for expensive wide shots.
The opening scenes are astonishingly harrowing as we see the "pieces" of Jewish bodies essentially processed through the factory of death with disturbing, off screen, dog barks, German soldier orders and mechanical noise. It's brutal and affecting in the extreme.
In some ways this is what I grotesquely wanted from the movie. I wanted to be horrified like no horror movie could achieve.
Forgive me for this but it didn't happen. Yes, the mood was grotesque thanks, in particular, to the extraordinary sound design, but on screen I felt it shirked its potential too much.
In the end this voyeuristic cinematography ultimately becomes both tiresome and limiting.
The fundamental weakness of the movie, in my opinion, is in the storyline. Frankly it's not that credible and doesn't stack up. The main protagonist (Saul) discovers his (illegitimate?) son as a gas chamber survivor and smuggles him out of the situation to seek a Rabbi to give him a proper Jewish burial.
This leads to a sequence of events that side stories with an undercover camp breakout in which he is also inexplicably involved.
Sorry, it's not credible.
And Géza Röhrig as the lead didn't really do it for me. And so the early wonderment of the movie, it really is very moving, starts to erode and gradually descends into incredibility.
I love what this movie stands for. I respect every iota of it.
I just didn't think it was particularly good overall.
To classify it as 'entertainment' would certainly be wrong because the subject matter is so uncompromisingly challenging.
I wanted to love it unreservedly for the bravery of its content but I'm afraid I was left a little cold.
The film is shot in square format (possibly 4:3) which is immediately disarming and unusual (the last time I saw this was in the very different Wes Anderson's Grand Budapest Hotel) and it's used effectively because it gives the viewer a voyeuristic look into the mayhem that is Dachau where the movie is set. It also helps the director from a budgetary point of view because it eschews the need for expensive wide shots.
The opening scenes are astonishingly harrowing as we see the "pieces" of Jewish bodies essentially processed through the factory of death with disturbing, off screen, dog barks, German soldier orders and mechanical noise. It's brutal and affecting in the extreme.
In some ways this is what I grotesquely wanted from the movie. I wanted to be horrified like no horror movie could achieve.
Forgive me for this but it didn't happen. Yes, the mood was grotesque thanks, in particular, to the extraordinary sound design, but on screen I felt it shirked its potential too much.
In the end this voyeuristic cinematography ultimately becomes both tiresome and limiting.
The fundamental weakness of the movie, in my opinion, is in the storyline. Frankly it's not that credible and doesn't stack up. The main protagonist (Saul) discovers his (illegitimate?) son as a gas chamber survivor and smuggles him out of the situation to seek a Rabbi to give him a proper Jewish burial.
This leads to a sequence of events that side stories with an undercover camp breakout in which he is also inexplicably involved.
Sorry, it's not credible.
And Géza Röhrig as the lead didn't really do it for me. And so the early wonderment of the movie, it really is very moving, starts to erode and gradually descends into incredibility.
I love what this movie stands for. I respect every iota of it.
I just didn't think it was particularly good overall.
- markgorman
- Apr 29, 2016
- Permalink
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Details
- Release date
- Countries of origin
- Official sites
- Languages
- Also known as
- El hijo de Saúl
- Filming locations
- Mafilm, Budapest, Hungary(Studio)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- €1,500,000 (estimated)
- Gross US & Canada
- $1,777,043
- Opening weekend US & Canada
- $37,930
- Dec 20, 2015
- Gross worldwide
- $6,659,121
- Runtime1 hour 47 minutes
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1
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