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Biscayart in particular delivers one of the most deeply identifiable Holocaust-centered performances since Adrien Brody appeared in “The Pianist” nearly two decades earlier.īest known for a handful of queer-themed films (including “BPM” and “All Yours”) but launched onto a broader stage as the disfigured French soldier in multi-César-winning WWII movie “See You Up There,” Biscayart is a uniquely forlorn-looking, adolescent-sized Argentine actor with narrow cheeks and enormous blue eyes. It is, however, remarkably well acted by Biscayart and Eidinger, who rescue what could have been a very bad-taste endeavor and find some humanity in the dynamic that screenwriter Ilja Zofin has imagined for them. Certainly, it pushed all the right buttons at its Berlin Film Festival premiere, generating consistent laughs right up to its devastating conclusion, which provokes a deep emotional reaction for which even this skeptical critic was not prepared.Īnd yet, for all its technical strengths - especially in cinematography, score, production design and costumes - the movie feels fraudulent, almost farcical at times, presenting an untenable premise and using it to rehash generic stereotypes about Germans, Jews and an event that claimed the lives of so many. “Persian Lessons” will no doubt revive his profile, piggybacking as it does on the Holocaust in a universe where “Jojo Rabbit” can be nominated for a best picture Oscar, it could be a formidable contender on the American awards front. The result is a wildly implausible and downright manipulative mix of wrenching human tragedy and absurdist comedy, overseen by Ukrainian director Vadim Perelman, who made one very strong film, “The House of Sand and Fog,” way back in 2003, but has otherwise slipped from the international radar. The film claims to be “inspired by a true story” but is really a parable in the tradition of “The Reader,” wherein a terrified prisoner (Nahuel Pérez Biscayart) agrees to teach Farsi - a language he does not know and is therefore obliged to make up - to an eager-to-learn Nazi transit camp commandant (Lars Eidinger) in a resourceful attempt to prolong his life.
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Stories about the Holocaust - so vital in trying to reconcile the horrors of the past century - must at some point take a philosophical stand on how to deal with how their characters express themselves.Īnd then there is “ Persian Lessons,” a most peculiar anomaly among tales of the Shoah: It tells of a Belgian Jew who invented a language in order to survive World War II.
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In “Son of Saul,” the cast struggles to communicate in a mish-mosh of languages, as Jews of different nationalities were thrown together in Auschwitz-Birkenau. In “Schindler’s List,” most of the actors spoke English, using accents to indicate their characters’ origins.