The film indulges in decadent close-up shots of blossoming flowers, dwelling on their almost surreal vividness. Such shots invoke the eugenic obsession at the heart of the Nazi program, foregrounding the role of the family in the colonization of resources and in the production of superior types. But there are no close-ups of human faces, just human screams barely audible in the background. With such close-ups, Glazer is revealing something about what the family does to scale and focus; the outsized images of flowers suggest the disproportionate attention lavished on domestic endeavors even while human beings next door are subjected to gruesome acts of brutality. Glazer asks us to see the private family as a moral vacuum that trains attention inward, directs resources toward itself, and refuses to look beyond its own walls.
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