Claire Denis, director Hong Sang Soo, Isabelle Hupert, Kim Min hee and Jeong Jinyoung of Claire’s Camera walk the red carpet during the 70th annual Cannes Film Festival at Palais des Festivals on May 21, 2017 in Cannes, France.
“I’m pretty busy.” Bennett muttered while drawing a bottle of water to his lips inconspicuously. In his left hand he was holding the corner of a canvas which was covered in an abstract design donated by the local zoo and aquarium. A painting done by Hupert the elephant to be exact. The easel broke and his fingers were the only part keeping the display from toppling over. He hoped the slight beads of sweat at his temple didn’t make his predicament obvious.
Ohrenstein first boarded in Munich in the house of a German woman with whom he exchanged only basic salutations. Prompted by the sight of the Auschwitz number on his arm, she one day tried to account for the Nazi phenomenon. In a common trope of German rationalization, she stressed the charisma of Hitler; to illustrate, she related how a friend of hers had been “so overcome” by the Führer at a Nazi rally “that she kissed his garment.” Her point, Ohrenstein sensed, was to convey that she had not been a Nazi, only her friend. Ohrenstein scoffed, “Nobody in Germany was a Nazi. Each German would say, ‘Ich habe ein guten Jude’… So there were about sixty million Jews, because each one knew one good Jew.” Mark Hupert echoed this quip with greater sarcasm: “It was very hard to live amongst [the Germans] because nobody was a Nazi… . There should have been eighty million Jews because everybody at least saved one.”