Source France | Publisher : Blaq Out | Release date : 05 July 2024
Video format
2160p24 | Ratio 1.78
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
German DTS-HD MA 5.1
German DTS-HD MA 2.0
English DTS-HD MA 5.1
French DTS-HD MA 2.0
Subtitles
French
Rated 5 out of 5
Artistic : 9.5 | Video : 9.5 | Audio : 9.5
It is brought to the attention of our dear readers that, in addition to the specified and used viewing equipment, the rendering may differ from one installation to another, whether or not it is calibrated, as well as personal preferences and expectations may influence notation. Moreover, the images in the article are not representative of the edition tested.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Professional HDR)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (DTS Neural:X), SVS SB-4000
WORK - The Nazi Daily
Auschwitz's Commander Rudolf Höss and his wife Hedwig make on a plot directly adjacent to the wall of the camp their vision of a dream life with a large family, a house and a large garden.
At the edge of the unbearable, this sensory work on the indicible of the Holocaust in which Jonathan Glazer we make contact with the banality of evil, probes our own relationship to history so that the increasing indifference due to the years ceases. From a power confusing with its taunting geometric staging (which shows almost nothing), its characters with a truly dreadful serenity and its evocative narrative (freely adapted from a novel by Martin Amis), this real film lesson on the mechanics of dehumanization imposes as an uncomfortable closed-door causing deep discomfort. Genocide must stop!The life we enjoy is very much worth the sacrifice. "
Rudolf and Hedwig Höss
Resulting from a 6K capture (and 1K upscaled by IA in 4K for beautiful sequences in night vision), this UHD HDR10 transfer surgically respects the icy photograph « truth » of the
Čukasz юal which is darkened to accentuate the discord between the bucolic environment of the Höss family and the Nazi horror lived right next door. With an average bitrate of 75.17 Mbps, compression can be done discreetly with the exception of (only) two planes where the dimness is furry. With a clear legibility, the picture is superbly resolute (the elements of the 1.78 frame gain in finesse) and displays a particularly sharp pitch (at the edge of the aggressive in places) throughout the depth of the field. The colorimetric palette with more or less unsaturated neutral calibration, which delivers globally extinct hues (it must be said that the sky is covered) and a blafarde carnation, benefits from a more marked greenery and nights with increased glowing reflections. As for naturalistic contrasts, except for demonstrative contrasts, they show a greater density than in CSD with darker blacks and more nuanced lighting (light of the day, light bulbs of the era). It should be noted that infrared shots provide whites whose memorable incandescent is only touched with Blu-ray.
SOUND - The terrible breath
If Dolby Atmos mixing remains an American exclusive via the publisher
, this VO DTS-HD MA 5.1 (track 2.0 not tested) does not detract in any way since the absence of any sensationalism and its propensity to confine itself to a monophonic space do not cause it to regret its absence. A24Because spread over two very distinct areas that never interfere (the daily train of the Höss family and the horrors of Auschwitz off-site), ingenious sound design of the
Johnnie Burn has been deliberately reduced by the latter so that the dialogues, always clear, and most of the sound effects (domestic or horrific) focus on the central channel. In fact, lateral and rear enclosures that are highly limited (some country atmospheres) really only get along with the two generics. Atmosphere as possible and playing dissonances in the strangeness of agonizing music
Micachu Micachu, elle fait montre d’une dynamique peu commune dans les sons de la vie courante (comme l’entretien) et d’une limpidité remarquable dans les bruits atroces émanant du camp (les coups de feu, les cris des prisonniers, les sirènes d’alarme). Venant en permanence renforcer le malaise ambiant, le canal LFE propage des basses sinistres (cf. les ronflements des fours crématoires).
Moins vivante à l’avant mais pourvue d’un doublage parfaitement intégré, la VF elle aussi proposée en DTS-HD MA 5.1 (et en 2.0) est autrement moins immersive puisque privée de l’authenticité linguistique de la bande-son allemande.
CONCLUSION - Across the Wall
Quand le souvenir de la Shoah n’est plus suffisant, l’expérience sensorielle fondée sur le subjectif prend le relai pour raviver la mémoire collective. Et alors qu’est filmée la théâtralité d’un microcosme faisant mine que l’extermination des juifs n’existe pas, la Genèse de l’image et l’Apocalypse du son (encore mieux célébrées sur support 4K Ultra HD) réveillent les consciences !
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