‘The Disappearance of Jose Mengele’ Review: An Artfully Directed, Intellectually Vacuous Holocaust-Ploitation Flick

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During the intricately woven yet progressively frustrating 135 minutes of Kirill Serebrennikov’s film, “The Hidden Hunt for Josef Mengele” (also known as “The Disappearance of Josef Mengele”), a recurring thought arises: What is the purpose of me watching this?

Indeed, if you’re intrigued about how the infamous Auschwitz doctor, also known as the “Angel of Death,” spent his later years in various South American countries by shifting homes and identities, farming, hatching schemes, and even receiving occasional sexual favors, this film provides that answer multiple times. However, for those who aren’t deeply invested in the Third Reich or have no inclination towards historical fiction that mainly serves to enhance Mengele’s disreputable image, this mentally shallow production might be hard to digest—despite its excellent production quality.

Born in Russia, Serebrennikov is an accomplished filmmaker known for his unique style and versatility. Since 2016, he has directed six diverse films, demonstrating his directorial prowess across various genres. He seamlessly transitions from a gritty rock ‘n’ roll narrative (Leto) to a thought-provoking post-Soviet drama (Petrov’s Flu), from a somber period film (Tchaikovsky’s Wife) to an international political thriller following the enigmatic figure of Limonov: The Ballad of Eddie.

Kirill Serebrennikov, a versatile filmmaker who faced trial in Russia under contentious circumstances, can be elusive. It might be his evasive nature that drew him to Olivier Guez’s 2017 fictional biography, which explores the life of Mengele after World War II. In this story, Mengele is always slipping away from authorities or potential capture by Mossad. Similarly, Serebrennikov’s film, with Vladislav Opelyants behind the roaming camera, captures scenes in striking black-and-white high contrast, mirroring the restless nature of its questionable protagonist. However, much like the film’s unwholesome main character, the cinematic journey it takes us on is always moving, resulting in an aesthetically engaging yet ultimately meaningless experience.

In my perspective, Serebrennikov deliberately refrains from transforming Mengele, portrayed exceptionally by August Diehl in the film “A Hidden Life”, into a sympathetic or likable character. Unlike some narratives that might offer a redemptive arc to complex characters, this man – notorious for his heinous acts such as torture, murder, and grotesque experiments on countless Jews within the medical team at Auschwitz-Birkenau – does not receive such a transformation in the story.

We never feel any pity for the detestable fugitive, regardless of his attempts — however feeble — to reconnect with his son Rolf (Max Bretschneider) in Sao Paulo during 1977, as he seeks to establish a relationship with his estranged father. Similarly, we do not show any compassion when he’s compelled to leave the farm where he’s precariously safeguarded by a Hungarian couple (Annamaria Lang, Tilo Werner) who clearly dislike him. Furthermore, we remain indifferent when, during his final moments, Mengele is unable to perform sexually while his Brazilian housekeeper attempts to provide him with a massage that ends in pleasure.

Viewing “The Disappearance of Josef Mengele” leaves one feeling neither particularly moved nor repulsed, but rather indifferent or deeply dismayed. The scene that might elicit a different emotion is also the film’s most questionable: About halfway through the story, the screen unexpectedly changes to color and we are taken back to Auschwitz to witness some of Mengele’s disturbing actions. Accompanied by rich classical music, which seems to contrast with the horrors unfolding, it is a moment of pure Holocaust exploitation, tugging at our heartstrings while offering glimpses of unimaginable cruelty and graphic violence. Unlike Jonathan Glazer’s “The Zone of Interest,” which intentionally omits such scenes from view, Serebrennikov’s choice to reveal Mengele at his most vile feels morally questionable and aesthetically crass. At best, it intensifies our disdain for the Nazi.

As a gamer navigating through this intriguing narrative, I find myself captivated by the post-war thriller elements that skillfully leap between different timeframes (ranging from the mid-1950s to the late 1970s, with an initial scene in 2023) and geographical landscapes (Germany, Argentina, Paraguay, Brazil). The elusive Mengele consistently manages to stay one step ahead of those seeking his justice, all while relying on a clandestine network of former Nazi sympathizers for aid. His wealthy German family, as unrepentant as he is about their war-time actions, continues to stand by him, vehemently denying any involvement in his crimes.

They continually remind him that he fulfilled his responsibilities and didn’t commit any wrongdoings. This saying remains a guiding principle for Mengele until the end, as he passes away peacefully – something his numerous victims were denied. For the most part, Mengele seemed to live comfortably, marrying his second wife (Friederike Becht) in a lovely private ceremony, with the director capturing the event in one continuous shot. At one point during the wedding festivities, the camera focuses on a wedding cake adorned with a tiny Nazi flag. Elsewhere, Mengele is depicted frolicking with his first wife (Dana Herfurth) along the Rhine, and engaging in intense sexual encounters with her, culminating in a violent orgasm that almost breaks the bed they are using. The doctor appears to have lived well, but it’s hard for us to find any enjoyment or satisfaction in his lifestyle.

In this noirish, Nazi-themed production directed by Serebrennikov, there might be a message about men like Mengele evading justice with the aid of others, either charmed by his powerful charm or still devoted to the Third Reich post-war. Given the current global resurgence of fascism, The Disappearance of Josef Mengele suggests that evil continues due to our complacency in allowing it to thrive. The film’s only clear message is that such a despicable life should not be glorified on screen.

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2025-05-21 02:54