In a thought-provoking interview with The Guardian, renowned Hungarian filmmaker László Nemes sheds light on a disturbing trend: the rise of antisemitism in the West. Nemes, an Oscar-winning director, paints a stark picture of a Hollywood plagued by "puritan, moralizing self-righteousness."
The focus of the interview quickly shifts from Nemes' latest film, a biopic on Jean Moulin, to the broader issue of antisemitism and its impact on the film industry. Nemes' films, Son of Saul and Orphan, both explore Jewish themes and the Holocaust, yet he believes they would not receive the same recognition today due to the politicization of cinema and the sensitivity surrounding Jewish-related content.
"I don't think it would make the [Oscar] shortlist today," Nemes says of Son of Saul. "Anything that's Jewish is now considered... Nobody would touch it with a 10ft pole." This sentiment is echoed in the lack of recognition for Orphan, which failed to secure an Academy Award nomination and has yet to find a U.S. distributor.
The widespread boycotts of Israeli film institutions, a move supported by prominent figures like Olivia Colman and Mark Ruffalo, are seen by Nemes as an "anti-humanist regression." He believes antisemitism is being spread effectively, with the "Jew" cast as the internal enemy, a sentiment reminiscent of pre-Nazi Europe.
"I think it's getting there," Nemes responds when asked if antisemitism is at its worst since Nazi Germany. He describes it as an obsession, with people more interested in his political views than his films. "People ask me about Gaza, instead of asking about the movie," he says.
Nemes also takes aim at fellow Jewish filmmaker Jonathan Glazer, criticizing his Oscar acceptance speech for The Zone of Interest. Nemes believes Glazer's speech, which denounced the Holocaust's hijacking by an occupation, was an attempt to please the Hollywood elite. "I didn't feel that he was responsible at all," Nemes says. "I think it's very presumptuous, very condescending."
In conclusion, Nemes urges filmmakers to resist the destructive power of the studio system and focus on making good movies. His interview serves as a powerful reminder of the complex relationship between art, politics, and social issues, and the potential consequences of allowing ideology to overshadow artistic expression.
