Both “Oppenheimer” and “The Zone of Interest” tangle with the psychology involved in creating highly efficient killing machines.
In both “Zone” and “Oppenheimer,” though, sound plays against image in a way that draws attention to itself, disconcerting the audience.
THE DIRECTOR OF “OPPENHEIMER,” Christopher Nolan, has long played around with sound in his films, which are often very loud and propelled by an intense, driving score.
(Watching one of his films can feel at times as if you’re immersed in one very, very long montage.)
Nolan also prefers not to rerecord actors’ dialogue, leaving them mixed into the sound as they were recorded during the performance, which can make them a little hard to hear.
Persons:
“ Oppenheimer, It’s, “ OPPENHEIMER, ” Christopher Nolan, Nolan