And I thought James White was innovative for filming almost entirely in close-up. Because Oscar/Golden Globe/Cannes winner Son of Saul, from the same year, uses the same technique: following a Jewish worker in a Nazi death camp, who finds the body of someone he knows, and becomes obsessed with seeking him a proper burial, while we witness different stages of gassing, looting and cremating Jews in the background, in blurry detail (the blurriness makes it more horrifying). There are always theories about how Holocaust films conspiratorially win all the awards. But granted, they're damn good movies.
Mo says:
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