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In \u201cAnatomy of a Scene,\u201d we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also <\/em>watch our collection of more than 150 videos on YouTube<\/em><\/a> and <\/em>subscribe to our YouTube channel<\/em><\/a>.<\/em><\/p>\n This sequence from \u201cThe Zone of Interest,\u201d which is nominated for five Academy Awards, including best picture, observes a weekday at the home of Rudolf H\u00f6ss, the commandant of the concentration camp Auschwitz. That home is positioned directly next door to the camp. In the kitchen, Rudolf\u2019s wife, Hedwig, sits and gossips with friends. In another room, Rudolf meets with the engineers of a crematory. But the scene primarily follows Aniela, a young Polish girl who works in the home, preparing a glass of schnapps to celebrate the commandant\u2019s birthday, and delivering boots to him during his meeting.<\/p>\n Discussing the scene, the film\u2019s director, Jonathan Glazer, said that he chose to follow Aniela, rather than the main characters, \u201cbecause it\u2019s really one of the only times in the film where we can see and connect and spend time with, essentially, a victim of these atrocities.\u201d<\/p>\n<\/div>\n<\/div>\n He explained that he chose to use multiple cameras to shoot the scene, and the film overall, because \u201cI really didn\u2019t want to have sort of the artificial construction of a conventional film to tell this story. Rather, to view them anthropologically, as if we were a fly on the wall.\u201d<\/p>\n Read the \u201cZone of Interest\u201d review.<\/a><\/p>\n
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