There are no establishing shots. No trains arriving at the gates of Auschwitz with their infernal box cars. No dates. No body counts. Instead, first-time director Lazlo Nemes places us right in the midst of the wretched business of the Holocaust. What we see and what we don't see is a product of the perspective of Hungarian-Jewish prisoner, Saul (Geza Rohrig). The only bit of overview we are given in Son of Saul is a title card explaining the Sonderkommandos, work outfits at death camps composed of Jewish prisoners, often pressed quickly into service upon their arrival at the extermination centers. Saul is one such Sondercommando, very likely at the end of his tenure in the special unit (the translation of the term in German) in 1944. The end of that grim tenure means the end of his life. The Sondercommandos, the "bearers of secrets," were conducted to their own demise, usually within months, by their successors. Son of Saul does begin in the midst o