As an audience we have to rely more on the main character. The sense of being lost and the constant reference point. You know, the two things kind of work against each other. At the same time, what's going on in the context all around is changing and uncertain and that fluctuates. First we have the main character who gives a point of reference. László Nemes: Well, I think it's twofold. How did you balance not completely disorienting the audience and at the same time bringing us into a world that we don't understand? That nobody can really understand? Saul, triggered by this miracle in an inhumane place, tries to regain what it means to be human.Īnne-Katrin Titze: I would like to start with the disorientation you begin your film with. Saul, to whose back we are tied, the prison garb marked with an enormous blood-red X, finds a small boy still breathing underneath the dead bodies in the pretend shower - his son. He is a part of the crew of inmates forced to dispose of the corpses from gas chambers and crematoria. In Son Of Saul, we follow closely Saul Ausländer, a member of the Auschwitz Sonderkommando, into Hell. László Nemes's debut feature has been chosen as Hungary's Oscar submission for Best Foreign Language Film. Son Of Saul had its World Premiere at the Cannes Film Festival where it won the Grand Prix du Jury and the FIPRESCI Prize. Steve Jobs was the New York Film Festival's Centerpiece Gala selection. Michael Fassbender as Jobs suggests the machinations of his mind, mainly through interactions and in lightening quick flashbacks. I caught up with the director in New York a couple of weeks before the US theatrical release and ran into him and Géza during the brunch for Danny Boyle's unorthodox take on Steve Jobs with Aaron Sorkin and Jeff Daniels, organized by Peggy Siegal, in The Vault of the St. Danny Boyle with Géza Röhrig and László Nemes at the brunch for Steve Jobs Photo: Anne-Katrin Titze