In 'Austerlitz' (2016), director Sergei Loznitsa presents a profound exploration of how modern spectators interact with historical sites of tragedy. The documentary, shot in black and white, is set in the concentration camps of Dachau and Sachsenhausen. It challenges viewers to examine their perceptions and the nature of memory in contemporary society. Loznitsa's unique approach—eschewing narration and letting the visuals speak—creates a platform for viewers to form their own interpretations and reflections on these somber places.
Examining Human Behavior at Historical Sites
The brilliance of 'Austerlitz' lies in its observational style, which captures the behavior of tourists visiting these powerful historical landmarks. The film raises questions about the commercialization of memory and why these sites have become mere points of interest rather than solemn memorials. Loznitsa's camera focuses on how visitors interact with these places—often disengaged, snapping selfies, or chatting loudly—which contrasts sharply with the gravity of the history they represent.
The Absence of Narration: A Deliberate Choice
Loznitsa's deliberate choice to leave out narration forces the audience to actively engage with the film. Without a guiding voice, viewers must confront their personal responses to the visuals, enhancing the emotional and intellectual impact of the scenes. This method subtly critiques society's potential desensitization to historical pain and the superficiality with which many approach such sites.
The Cinematic Techniques of 'Austerlitz'
Shot in stark black and white, the film highlights the contrast between the solemnity of the camps and the often frivolous nature of tourism. The static, long takes allow for an immersive experience, compelling the audience to observe details and contemplate the significance of each frame. The absence of a musical score similarly strips away layers that might otherwise influence emotional responses, allowing authenticity to surface.