Saul Fia “Son of Saul” It is set in the Auschwitz concentration camp during World War II, and follows a day-and-a-half in the life of Saul Ausländer, a Hungarian member of the Sonderkommando

Sonderkommandos Sonderkommandos were work units made up of German Nazi death camp prisoners. They were composed of prisoners, usually Jews, who were forced, on threat of their own deaths, to aid with the disposal of gas chamber victims during the Holocaust. The death-camp Sonderkommandos, who were always inmates, should not be confused with the SS-Sonderkommandos which were ad hoc units formed from various SS offices between 1938 and 1945.

László Nemes Nemes was born in Budapest as the son of a Jewish mother and the Hungarian film and theatre director András Jeles. He moved to Paris at the age of 12. Nemes became interested in filmmaking at an early age and began filming amateur horror films in the basement of his Paris home. After studying History, International Relations and Screenwriting, he started working as an assistant director in France and Hungary on short and feature films.

Géza Röhrig as Saul Nemes insisted on casting actors who spoke their characters' own languages.[17] New York City-based Hungarian poet Géza Röhrig, who had not acted in film since the 1980s, was cast as the main character, Saul, after being considered originally for a supporting role

Levente Molnár as Abraham

Urs Rechn as Oberkapo Biedermann

Sándor Zsótér as Doctor Miklós Nyiszli Miklós Nyiszli was a Jewish prisoner at the Auschwitz concentration camp. Nyiszli, his wife, and young daughter, were transported to Auschwitz in June 1944. On arrival, Nyiszli volunteered himself as a doctor and was sent to work at number 12 barracks where he operated on and tried to help the ill with only the most basic medical supplies and tools. He was under the supervision of Josef Mengele, an SS officer and physician. Mengele decided after observing Nyiszli’s skills to move him to a specially built autopsy and operating theatre. The room had been built inside Crematorium II (Crematorium I being in Auschwitz Town camp), and Nyiszli, along with members of the 12th Sonderkommando, was housed there

The film took five months of sound design. Human voices in eight languages were recorded and attached to the original recording of the production. Sound designer Tamás Zányi described the sound in the film "as a sort of acoustic counterpoint to the intentionally narrowed imagery".

The film was shot on 35 mm film in 28 days in Budafok, Budapest. The ubiquity of 35 mm movie projectors in commercial movie theaters made 35 mm the only motion picture format that could be played in almost any cinema in the world, until digital projection largely superseded it early in the 21st century. It is difficult to compare the quality of film to digital media but a good estimate would be about 20.8 million total pixels (20 megapixels) would equal one 35 millimeter high quality color frame of film A 40 mm lens and the Academy aspect ratio of 1.375:1 were adopted to realise shallow focus and a portrait-like narrow field of vision. Architect and liberal activist László Rajk, who also worked on the permanent Hungarian exhibition at the Auschwitz-Birkenau State Museum, designed the re-creation of the crematoria