The well-known host of a literary TV talk show, Georges (Daniel Auteuil) finds himself the target of an anonymous stalker who sends video tapes of his house as seen from across the street, in stationary shots that run as long as two hours. There’s no commentary, but the message is clear: You’re being watched. Accompanying the videos are child’s drawings full of obscure, crude, bloody images. Georges’ wife, Anne (Juliette Binoche), who works in the publishing business, is understandably rattled. At first, Georges has no idea who may be sending them. Gradually, the footage on the tapes becomes more personal, suggesting that the sender has known Georges for some time and Georges too comes to believe that he knows the perpetrator. Curiously and tellingly he refuses to share this knowledge with his wife, indeed he even tries to hide it. As the film progresses, the family’s personal drama begins almost imperceptibly to turn. However, the source of the vaguely accusatory videos ultimately matters less than the guilt they manifest.
Cheerfully wishing his audience a “disturbing evening” at a London retrospective of his films, director Michael Haneke insists that he is an optimist at heart, despite all of the relentlessly bleak carnage and deeply disturbing imagery so vividly painted and seared into the mind of anyone who has had the uncomfortable experience of viewing his work.
Practically born into show business, to an actress mother and director father, in Munich in March 1942, Haneke spent his early years in a working class suburb of Vienna before an early attempt at fame as an actor and pianist. Failing to achieve early success, Haneke attended the University of Vienna to study philosophy and psychology, and became a film critic and stage director before making his eventual debut as a television director with After Liverpool in 1973. Setting in motion a television career specializing in literary adaptations and small screen films, Haneke would work successfully in that medium until his feature debut… read more
A rewatch has transformed this from "the one Haneke I like" to "the one I hate the least." An unmoving exercise of Haneke's vacuous "arthouse" aesthetic– saying nothing by doing nothing. If anything, Caché is a confirmation of his cheap morality, giving itself a ludicrous importance as a critique of the contemporary dominant class (of which Haneke is a part) without really doing or attempting to do anything about it.
Uno strepitoso Haneke. All inizio sembra una storia come tante,con le tipiche ipocrisie e le aride facciate di una borghesia che ha sempre qualche scheletro nell armadio; poi il confine tra la realtà e la visione filmica diventa sottilissimo e lo spettatore viene risucchiato in un vortice tra ciò che vede e ciò che crede di vedere,fino al meraviglioso finale.Assolutamente meraviglioso.
"As is the case with several films in this year's New York Film Festival, Michael Haneke's The White Ribbon exemplifies the pleasures and
Fantastic! I just finished this film and here were the thoughts I jotted down as I watched it. Having subsequently read this thread, I would only amend to include Joe’s excellent theory about collusion… read review
This is an essay I wrote with a friend a couple weeks back. We weren’t able to give it the attention it needed, so thematically is more sporadic than I would like.
The editing in Michael Haneke’s… read review
Social apprehension and guilt captured in the bone-chilling guise of Haneke’s forever watching camera, the menace of a hidden past returning, from beyond the fourth wall, in occult snippets of voyeurism… read review