Exactly ten years after the singular sci-fi achievement that was Under the Skin, writer-director Jonathan Glazer is back in Cannes’ Main Competition with a new, monumental film, The Zone of Interest. In addition to Mica Levi’s exceptional, yet minimalist score whose noisy depths insist on avoiding aesthetic categorizations, there are punctures in the film’s visual style which are strategically placed: the highly conceptual use of thermal cameras and the simple fades to solid colors—black, white, and red— become repositories for hope in a sea of hopelessness and apathy. Glazer’s film does not represent the unrepresentable—for that would go against the conviction of Holocaust cinema—but offers a new, specifically cinematic way to refuse representation and pay respects.