{"id":182,"date":"2024-06-06T08:55:05","date_gmt":"2024-06-06T06:55:05","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=182"},"modified":"2024-06-07T15:12:17","modified_gmt":"2024-06-07T13:12:17","slug":"la-zone-dinteret-jonathan-glazer-2024","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=182","title":{"rendered":"La Zone d\u2019int\u00e9r\u00eat, Jonathan Glazer, 2024"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"LA ZONE D&#039;INT\u00c9R\u00caT - Bande-annonce officielle\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/m6cz6xTgkIY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Jonathan Glazer, Sandra H\u00fcller, Christian Friedel, Martin Amis, adaptation, drame historique, hors-champ<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">pavillon, couloir, cave, jardin, piscine, mur, camp, monument, balcon, salle de r\u00e9union, apparat <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI-1024x576.jpg\" alt=\"\" class=\"wp-image-184 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI-1024x576.jpg 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI-300x169.jpg 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI.jpg 1820w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Bien que moins tristement c\u00e9l\u00e8bre que \u00ab la solution finale \u00bb, l\u2019expression effroyable \u00ab zone d\u2019int\u00e9r\u00eat \u00bb &#8211;<br>interessengebiet en allemand \u2013 utilis\u00e9e par les SS nazis pour d\u00e9crire le p\u00e9rim\u00e8tre de 40 kilom\u00e8tres carr\u00e9s<br>entourant le camp de concentration d\u2019Auschwitz en p\u00e9riph\u00e9rie d\u2019O\u015bwi\u0119cim en Pologne \u2013 t\u00e9moigne du m\u00eame<br>sentiment d\u2019obscurcissement r\u00e9solument pr\u00e9cis et inqui\u00e9tant. C\u2019est un euph\u00e9misme utilis\u00e9 avec une intention<br>l\u00e9tale. En 2014, le regrett\u00e9 Martin Amis avait utilis\u00e9 ces mots pour le titre de son roman sombrement<br>picaresque dont l\u2019action se d\u00e9roule \u00e0 l\u2019int\u00e9rieur et autour du camp. Dans son adaptation cin\u00e9matographique<br>longuement m\u00fbrie, le r\u00e9alisateur-sc\u00e9nariste Jonathan Glazer cartographie le terrain g\u00e9ographique et<br>psychique de la zone et de ses habitants avec une pr\u00e9cision gla\u00e7ante.<\/p>\n\n\n\n<p><br><\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>La fa\u00e7on tr\u00e8s particuli\u00e8re dont La Zone d\u2019Int\u00e9r\u00eat a \u00e9t\u00e9 r\u00e9alis\u00e9e d\u00e9coule de l\u2019anxi\u00e9t\u00e9 du r\u00e9alisateur face au fait<br>de travailler avec un mat\u00e9riau aussi charg\u00e9. \u00ab Je ne voulais pas avoir l\u2019impression de faire un film sur cette<br>p\u00e9riode [de l\u2019Histoire] pour le mettre dans un mus\u00e9e \u00bb, t\u00e9moigne Glazer. \u00ab Nous parlons ici de probablement<br>l\u2019une des pires p\u00e9riodes de l\u2019histoire de l\u2019humanit\u00e9, mais nous ne pouvons pas dire \u2018mettons-la au placard\u2019<br>ou \u2018il ne s\u2019agit pas de nous, nous sommes \u00e0 l\u2019abri de tout \u00e7a, c\u2019\u00e9tait il y a 80 ans\u2019. Nous ne pouvons pas nous<br>dire que cela ne nous concerne plus. Clairement, cela nous concerne, et c\u2019est troublant de le constater, mais<br>cela sera peut-\u00eatre toujours le cas. Donc je voulais porter un regard moderne sur le sujet. \u00bb<\/p>\n\n\n\n<p><br><\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI2-1024x576.jpg\" alt=\"\" class=\"wp-image-185 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI2-1024x576.jpg 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI2-300x169.jpg 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI2.jpg 1820w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI3-1024x576.jpg\" alt=\"\" class=\"wp-image-187 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI3-1024x576.jpg 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI3-300x169.jpg 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/ZOI3.jpg 1820w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Au d\u00e9but de <em>La Zone d\u2019Int\u00e9r\u00eat<\/em>, Hedwig H\u00f6ss (Sandra H\u00fcller) accueille sa m\u00e8re pour la premi\u00e8re fois dans sa<br>villa impeccable en stuc \u00e0 deux \u00e9tages, o\u00f9 elle vit avec son mari Rudolf et leurs enfants. Lorsque sa m\u00e8re lui<br>demande si les domestiques de la maison sont juifs, Hedwig fait un geste en direction du mur recouvert de<br>lierre qui s\u00e9pare son jardin en pleine floraison de la structure imposante de l\u2019autre c\u00f4t\u00e9. \u00ab Les Juifs sont de<br>l\u2019autre c\u00f4t\u00e9 du mur \u00bb dit-elle joyeusement. Hors de vue, hors de l\u2019esprit. Ce sinistre sentiment d\u2019occultation<br>a fourni \u00e0 Glazer le point d\u2019entr\u00e9e pr\u00e9cis pour son adaptation. Dans le roman d\u2019Amis, le personnage ignoble<br>de Paul Doll &#8211; un commandant de camp install\u00e9 dans une version fictive d\u2019Auschwitz \u2013 est inspir\u00e9 de Rudolf<br>H\u00f6ss, un nazi de longue date largement reconnu comme l\u2019un des architectes de l\u2019extermination de masse. (Il<br>est m\u00eame consid\u00e9r\u00e9 comme pionnier dans l\u2019utilisation du gaz Zyklon B). Glazer s\u2019est donc empar\u00e9 de l\u2019id\u00e9e<br>d\u2019int\u00e9grer une r\u00e9alit\u00e9 biographique dans le sc\u00e9nario. \u00ab J\u2019ai commenc\u00e9 \u00e0 me documenter sur Rudolf H\u00f6ss et sa<br>femme Hedwig, et sur comment ils vivaient \u00e0 Auschwitz, install\u00e9s dans un coin du terrain, si on peut dire \u00bb,<br>explique-t-il. \u00ab D\u2019une certaine fa\u00e7on, pour moi, le sujet du film est devenu ce mur. Le cloisonnement de leurs<br>vies et l\u2019horreur v\u00e9cue juste \u00e0 c\u00f4t\u00e9. \u00bb<\/p>\n<\/div><\/div>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Tournage du film<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Dans les coulisses de LA ZONE D&#039;INT\u00c9R\u00caT\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/ck8HwNiFnqE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Jonathan Glazer, Sandra H\u00fcller, Christian Friedel, Martin Amis, adaptation, drame historique, hors-champ pavillon, couloir, cave, jardin, piscine, mur, camp, monument, balcon, salle de r\u00e9union, apparat _ R\u00e9sum\u00e9 Bien que moins tristement c\u00e9l\u00e8bre que \u00ab la solution finale \u00bb, l\u2019expression effroyable \u00ab zone d\u2019int\u00e9r\u00eat \u00bb &#8211;interessengebiet en allemand \u2013 utilis\u00e9e &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=182\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0La Zone d\u2019int\u00e9r\u00eat, Jonathan Glazer, 2024\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-182","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=182"}],"version-history":[{"count":4,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/182\/revisions"}],"predecessor-version":[{"id":260,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/182\/revisions\/260"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}