Abstract
The images of Saul’s Son brought back to the centre of the debate the great controversy about what is representable and unrepresentable when the Holocaust is filmed. The purpose of this article is to explain why the film by Laszlo Nemes reopened a crisis that seemed to be finished, due to the novelty of its ethical and aesthetic approach. So, this text delves into the two conflicting versions that have capitalized this controversy throughout history —with Lanzmann and Didi-Huberman at the head of each one, respectively— in order to analyze the mentioned hungarian film and demonstrate the originality of its cinematographic bet: his claustrophobic image, the unique viewpoint centralized on the protagonist, the sensorial immersion in hell, the importance of sound or his respect for what happened as his strong points.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
