In “Schindler’s List,” most of the actors spoke English, using accents to indicate their characters’ origins. 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. 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.
Best known for a handful of queer-themed films 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.
This is a silly but still-acceptable basis for Koch to want a private tutor, though it is not at all clear why Gilles, who presents himself as Reza, should continue to be imprisoned and treated as a kitchen slave, if Koch believes the deception.
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