
The opening scene of Jonathan Glazer’s “The Zone of Interest” presents a family’s riverside picnic idyll in tall grass beneath the trees on a tranquil, brilliantly sunny day. It appears as the living joy, in loving, natural peace, that is an end of all domestic hope and striving, and so the family mother will have cause later to claim she believed she’d found in her home compound abutting the Auschwitz extermination camp. It is an Edenic vision.
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