But this history needs to be remembered, and it will always be mentioned repeatedly.
Director Laszlo did exactly that.
The director created his own audio-visual system as soon as he shot it. He used almost medium and close-up shots in first-person, 40mm fixed focus and shallow depth of field. The protagonist Thor led the audience into a dark and real world of purgatory.
The protagonist's expressionless "slaughter" of his own clan is called "traitor" in our eyes. But in the film, they themselves are dead. They only outlived other brothers of the same race by four months.
What the audience witnesses is not the long shots, big panorama, God's perspective, and tragic soundtrack that the movie should have. What we saw was the faintly visible corpse in the out-of-focus state, the clear crying, the screams, and the scenes where the protagonist led us through the gates, all made people feel extremely real and so unbelievable!
The director shows us a bloody slaughter factory from a narrow perspective that is close to people, let alone people. If the animals are killed here, I will inevitably feel sick, not to mention that they are dealing with their own kindred people. .
If death was the norm in concentration camps, then being alive was a counterexample to them.
The film splits into two lines, the moment the protagonist finds out that his son is also in a concentration camp and finally watches his son die. He decided to find a rabbi (priest) for his son, and a dignified burial. Another route is for those working in these "scavengers" to secretly unite to make a revolution and escape the camp.
No matter which way to go, the director has always delivered a message, which is "death". Concentration camps are synonymous with death. The director does not speak the truth, does not give any time for psychological activities, compresses the protagonist's rampage for a day and a half in the form of a documentary, and does not give the audience a chance to breathe.
In the past, from the concentration camps to the films we watched, the stories and the protagonists themselves carried a trace of hope and wishful thinking. However, this "Son of Sol" abandons those hypocritical and even shameful business practices, and directly shows a black hole in human history. Let people truly see that compared to the corpses of millions of Jews, the light of morality in the black hole of the concentration camp is too weak for the dozens of people saved in "Schindler's List". As Thor said to his companions: "We are already dead".
Often this kind of delivery that is close to the real record gives people unexpected heaviness and deep thought.
Why did the protagonist Sol finally sacrifice all the lives of the living to bury his son? It is also the only possible way to knock the existence of the living dead in the concentration camp, and it is also the belief of mankind, that is, even in the darkest and most desperate situations, we must also believe that there is a light of faith and hope that always shines.
At the end of the film, the male protagonist saw the little German boy outside the door looking at him innocently, and he finally smiled at the boy with tears in his eyes. Because he saw hope and miracles. Their face-to-face transcends the enemy and ourselves, transcends the nation, and heralds the future.
For the first time, the camera moved away from the male protagonist Sol, and followed the German boy. With the sound of gunfire in the distance, the little boy led the miracle and hope into the woods. The camera stops at only the drizzle pattering on the leaves.
Nature without human beings is so beautiful and quiet.
Such an ordinary day, an ordinary time, is normal for nature, but it is an extremely dark time for human beings.
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