Any filmmaker trying to draw meaning from the Holocaust onscreen faces potential pitfalls. If you showcase individual human perseverance, as in Agnieszka Holland’s 1990 film “Europa Europa,” you risk trivialization; if you attempt to dramatize the inside of a concentration camp, as in Roberto Benigni’s 1997 film “Life Is Beautiful,” you risk exploitation; if you’re simply interested in preserving the testimony of survivors, you risk redundancy with what Claude Lanzmann accomplished in the 1985 film “Shoah.” Steven Spielberg’s 1993 film “Schindler’s List” is a masterpiece that consciously navigates these risks, but it, too, has faced criticism for sentimentality and for...