The commandant of Auschwitz and his wife build a tasteful domestic life in a villa on the other side of the camp wall — flowers, swimming pool, children's laughter, and, always, the sound of the machine next door. Glazer shoots the Höss household as a Big Brother house and lets Mica Levi's score do the haunting, producing the most formally radical Holocaust film in decades and an instant piece of canon on the ordinariness of evil.
