We need more directors willing to take risks with films like Get Out.
"The Assault" begins in Nazi-occupied Holland in the bitter late days of World War II. On a quiet suburban street, a Dutch collaborator is shot to death by partisans. From behind their curtains, the fearful residents peek out into the night, certain that the Nazis will perform dreadful reprisals. Shadowy figures dart out into the night and drag the body to the front of the house next door, and then the movie is the story of the rest of the life of Anton Steenwijk, the young boy who lived in that house.
His family is taken away by the Nazis. All of them disappear, apparently liquidated, except for Anton, who is spared through a combination of bureaucratic oversights and lucky chances. After the war, Anton goes to college, marries and becomes successful in his profession. Always his life is haunted by the aftermath of that terrible night.
But there are two other families also scarred by the assault. One is the family of the murdered Nazi collaborator. Anton (Derek De Lint) runs across the collaborator's son a few years later and finds that he has become a bitter young right-winger, a youth whose father's political choice made him into an outsider and menial laborer who was scorned after the war.
Even later, in a 1960s ban-the-bomb parade, Anton meets the woman who lived next door on that night and learns why her father dragged the dead body to the front of his house, assuring that another family would be punished by the Nazis. He had his reasons. Perhaps they were good.