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But despite its setting, Son of Saul still shies away from depicting the horrors of the Holocaust, and, in doing so, creates a specious relationship between history and its representation. Its novelty has already earned it many accolades: the Grand Prix at Cannes, a number of Critics Awards, a Golden Globe, and surely Oscar gold in the Foreign Language Film category. Shot with intense close-ups and a booming soundtrack, Son of Saul sets its terse narrative right inside the gas chambers. So credit goes to Son of Saul, a real-time thriller set in Auschwitz, for locating its brutality up-front and center, as well as shying away from simplistic storytelling. The continuing respectability of Holocaust films has often resulted in disrespectful art. Cue Kate Winslet on HBO’s Extras: “If you do a film about the Holocaust, you’re guaranteed an Oscar.” (She later won an Oscar for her Holocaust drama The Reader.) More frustrating, however, is that these films are largely risible affairs, tasteful dramas without much thematic or aesthetic ambition. Ever since the success of Steven Spielberg’s Schindler’s List in 1993, Holocaust films have emerged as their own genre, often with awards shows in mind. EVERY YEAR, one expects that the best films of the year will adhere to certain tired genre conventions: biopics of great artists, period romances, and of course, a Holocaust film or two.