![]() ![]() ![]() In terms of the production and costume design, Perelman goes for an approach that leans into old-school filmic depictions of the Holocaust rather than something more recent, like the claustrophobic and cacophonic chaos of Son of Saul.Įvgueni and Sacha Galperine’s orchestral score is mostly familiar stuff, except for an entrancing atonal piece midway through the movie that offers a glimpse of a more daring and experimental take on the material. The director wisely stays pretty close to Gilles even as he allows the wannabe Persian to develop a kind of morbid fascination with Koch, who is both his lifeline and his mortal enemy. Given the story’s intimate and talky setup, it’s quite miraculous that Zofin’s screenplay and Perelman’s mise-en-scene manage to avoid making the pic feel too theatrical. A devastating exploration of the American Dream gone awry. This puts him in a strange position, as he is both a detainee and a teacher, an intimate confidant and a lowly minion whose student can literally have him killed whenever he wants. Summary Excerpt Reading Guide Book Summary Three fragile yet determined people become dangerously entangled in a relentlessly escalating crisis. What they perhaps didn’t realize at first is that the essence of first-stage language learning is essentially about talking about yourself (“My name is so-and-so,” “I’m X years old,” “I have one older brother,” etc.) and Gilles thus starts to learn personal things about Koch that no other prisoner knows. 1 page at 400 words per page) View a FREE sample Part II: Section 50 Summary When the Colonel finds a parking space and looks over his shoulder to parallel park, Lester does not move out of his range of vision - doing so would be courteous, and he does not wish to show courtesy. Two characters with very different agendas have conversations in drably appointed rooms one wants to better himself by learning a foreign language so he can leave and thrive elsewhere, the other has been brought there against his will and just wants to survive - and to achieve that he can’t ever be found out. The core of the film is really a Kammerspiel set in the antechambers of hell. To try and make things a little bit easier, he uses the endless lists of names of the prisoners he needs to log by day as inspiration for his made-up Farsi. Gilles thus finds himself teaching a language he doesn’t know a single word of. It becomes clear that Koch - whose name means “cook” or “chef” in German so subtle! - dreams of opening a German restaurant in Tehran after the war because his brother lives there. He manages to avoid being shot only because the Nazi camp leader, Koch (Eidinger), has asked his underlings to bring a Farsi-speaking prisoner to them in exchange for extra rations. (Spoiler of sorts in this paragraph.) In exchange for some food, Gilles (Perez Biscayart) finds himself with a bilingual book of Persian poetry, which is the prop that sets his lie in motion. ![]()
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