Isn’t it long past time that there was an honest discussion about why there are so many Holocaust films? Unquestionably some meet the challenge posed by the injunction “never forget,” but too many others exist because the market has proven that the Holocaust sells. The movies falling into this latter category trivialize as they sensationalize, fiddling on heart strings with a facile bow whose chords jump between lurid and saccharine. A subset within this group folds more troubling objectives into their cynical understanding of the market, using the Shoah to push agendas that have little to do with comprehending the unfathomable.
It’s a testament to the cravenness of the Holocaust industry that an undisguised piece of Serbian nationalist propaganda like Peter (Predrag) Antonijević’s “Dara of Jasenovac,” dressed up in concentration camp clothing, can find distribution outside its native land. Less surprising is that it’s been submitted for Oscar consideration.
It’s a testament to the cravenness of the Holocaust industry that an undisguised piece of Serbian nationalist propaganda like Peter (Predrag) Antonijević’s “Dara of Jasenovac,” dressed up in concentration camp clothing, can find distribution outside its native land. Less surprising is that it’s been submitted for Oscar consideration.
- 1/25/2021
- by Jay Weissberg
- Variety Film + TV
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