Zoller's appearance after the gunshots serves a precise narrative purpose. The method used to create those wounds requires documentation different from the film's images.
A visible effect does not reveal how it was made in full
The projection booth sequence shows Fredrick Zoller wounded after Shosanna shoots him. It is possible to describe the result the screen presents: blood, changes to his clothing, and a body losing stability. It is not possible to infer from that result alone an exact list of prosthetics, materials, mechanisms or digital touch-ups used during filming.
The phrase “facial wound make-up” can lead one to imagine a demonstration of facial impacts that does not correspond to the centre of the scene. What organises the moment is Zoller's collapse and the impression that he has ceased to pose a threat. Without a breakdown of the production, attributing a specific facial prosthetic to Daniel Bruehl or describing a supposed silicone fabrication would be speculative.
The continuity between the body and Shosanna's reaction
The character's appearance helps change the attitude of the person watching him. The Fredrick Zollerinsistent and confident in his position is turned into a wounded man. That transformation makes Shosanna's approach understandable, although it should not automatically be read as love or reconciliation. The vulnerable body interrupts, for a few moments, the dynamic of confrontation.
For that change to work, the visible make-up matters just as much as the posture, performance, framing and length of the shot. Attributing the whole effect to the make-up department would reduce an action built through several decisions. The film can make a wound seem final without showing it in anatomical detail, precisely because the edit directs attention towards Shosanna's reaction.
The return of violence depends on that incomplete perception. The viewer and the character do not receive a medical guarantee that Zoller has died. They see a defeated body. When he shoots again, the sequence uses the difference between that appearance and the ability to act that he still retains. The visual information is sufficient to sustain suspense, even if it does not allow the technical process to be reconstructed.
Where observation of the shot ends
An effects sheet would need application photographs, tests, crew statements or documentation assigning tasks to that scene. The general credits of a film identify professionals, but they do not prove who created each wound or which combination of techniques was used in each take. Nor does a commercial costume replica prove the original materials.
For that reason, it is worth keeping two levels of description: the dramatic result can be analysed from the scene; the details of how it was made remain unconfirmed. The image of Zoller wounded has a clear function in the relationship between the characters, but it does not justify inventing a make-up process that the film does not document.
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