The suggestion of the suffering is more unsettling than wallowing in it. The horror remains in the periphery, a blur, but it’s unmistakable: the pounding and screaming from behind the metal doors, the naked and lifeless limbs being dragged across the concrete floor once the doors have reopened. Nemes stays close, showing us only what Saul sees, photographing him from the back or the side, Dardennes-style, as he walks purposefully toward each destination.
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