Whether they traffic in grim horror or dubious uplift, movies about the Holocaust have long since hardened into their own predictable subgenre. It may also have rendered an unshakable verdict on Nemes himself, whose obvious technical ingenuity had found its most imposing subject - but also, in a way, its most obvious. He won an Oscar and nearly every international film prize under the sun for his 2015 feature debut, “Son of Saul,” which plunged the viewer into a grimly persuasive simulacrum of a Nazi death camp and, for its many admirers, delivered the last word on how a filmmaker should depict the unthinkable. Where does an artist go after Auschwitz? László Nemes, the director of the implacably sinister Hungarian drama “Sunset,” has had to grapple with the question as few others have.
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