I didn't dislike the film as much as you did, wpqx, but it was a minor disappointment. Holocaust-themed films that are situated during that time-period could perhaps only open under select circumstances, depicting certain situations. But at this point it'd be refreshing if the approach isn't conventional, which I thought wasn't the case at the beginning of the film (the precious voice-over narration didn't help matters). What was impressive was that the narrative continuously became spare and epigrammatic, even though the formal level for the most part remained set on "prestige." I also admired the fact that the filmmaker sidestepped any opportunities to indulge in violent or disorderly acts. Not impressed, however, with Morricone's suprisingly banal score (I could swear I heard a slight variation of The Good, the Bad and the Ugly theme at one point) and a low-angle panning-shot of people in repose which is blatantly "borrowed" from Tarr's Damnation.