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This paper presents a critical study of the problem of the representation of extreme horror and particularly the Nazi Holocaust. The purpose of this analysis is inquire into the classic –and perhaps even more relevant today than ever– subject of the ineffability of horror from a comparative and interdisciplinary perspective, with particular attention to the possibilities of transgressing the representative interdict of the Shoah and the causes that encourage this hypothetical need for transgression. To do this we have focused in the comparative analysis of the work If This Is a Man (1947) by the Italian writer Primo Levi, and the film Son of Saul (2015) by the Hungarian director Lázsló Nemes.Este artículo plantea un estudio crítico del problema de la representación del horror extremo y, particularmente, del Holocausto nazi. El propósito de este análisis es ahondar en el tema –ya clásico aunque quizá hoy más vigente que nunca– de la inefabilidad del horror desde una perspectiva comparada e interdisciplinar, prestando especial atención a las posibilidades de transgredir el interdicto representativo de la Shoah y a las causas que animan esa hipotética necesidad de transgresión. Para ello nos hemos detenido en el análisis comparado de la obra Si esto es un hombre (1947), del escritor italiano Primo Levi, y del film El hijo de Saúl (2015), del director húngaro Lázsló Nemes

La necesaria invención del sentido: de Si esto es un hombre a El hijo de Saúl