Absolutely fantastic. Everything about this movie is on point: music, cinematography, plot, acting, characterization, the Disturb-O-Meter. Never have I so loathed a character in a film as much as I have the Pastor. I could go on, but save yourself the time and watch it.
Christian Berger studied Sven Nykvist's work prior to filming. You can tell. This film bleeds Ingmar Bergman.
We learn from our parents, their pain and their morals, just as they learnt from those who came before them. The genealogy of evil and revenge.
A brutalidade ímpar do não-visto de Haneke se une aos mais terríveis pensamentos do espectador.
Disturbing study about the origins of the evil and the ugly warts of supression.
The White Ribbon. Makes one wonder if this is the genesis of the Nazi empire. Children are the potential culprits of evil community crimes - destruction of property, murder, torture of a special needs victim. Traditional authority (landowner, pastor, doctor, teacher) is overpowered by secret covert actvity bent on turning the small village into a Lord of the Flies take over. Needs to be viewed multiple times.
A scathing attack on the manipulative tools employed by organised religion, Haneke's sinister investigation of punishment and retribution is telling in its narrative simplicity and in his understanding of the intelligence of his audience. Beautifully shot and wonderfully acted it's a masterclass in film direction.
seen it finally the second time after the release. still stunning. hanekes best and the best in german cinema since years.
Haneke is here less concerned with cinematic problems of the 'real' and our bandaged spectatorship, presenting his subject through moralist conventions while holding out on the mollification of narrative anxiety. His subtexts of class conflict, fascism, and punishment/purification are conservative, and between the inchoate and the reductive, advance without the ambiguity and iridescence that moves them actually.
After seeing The Piano Teacher and then this, Michael Haneke is quickly becoming one of my favorite directors. I dare say he is almost like a modern day Bergman!
I left of stack of movies at my parents house for my Dad to watch. I told him to watch some Bergmans. He watched a few and then called my saying, "White Ribbon" is my favorite Bergman so far!" I had to break it to him that White Ribbon was made just a couple of years ago- not by Bergman. He was floored. Funny, how "Bergman-esque" White Ribbon is, especially the minister character to the minister in Fanny & Alexander!
A technically immaculate film, equal parts emotionally engaging and intellectually stimulating.
Possibly my favourite Haneke movie. The black and white, the film clear sleak texture, the naïve relations, the cruelty, the horror of human life in society... It's just wonderful.
Reminds me of the tagline for Angel Heart, "Harold Angel is looking for the truth...pray he doesn't find it."
Self-conscious, or-deliberate, storytelling. Suggestive: a possibility, a sense of cause by elaboration on affect, affection, defect, object, but not subject. Without the storyteller there is no story but here the story is a secret, withheld at a fuzzy distance, and the thread is composed of moments whose only bond is that someone is watching and making a gesture of meaning to what he thinks he sees.
Peliculón. Por como describe lo que es la hipocresía y las trampas sociales, porque lecciones morales, porque da un poco de esperanza.
The rise of Nazism and fascism is a subject that deserves a more complex analysis than what Haneke has to offer - namely that it all came from prudishness and corporal punishment. An entertaining watch, but certainly not an insightful one.
Haneke delivers another story told in his particularly cryptic and haunting fashion. This one shot in black and white, beckoning 20's and 30's filmmaking, about a particular moment in European history.
Consegui dormir 4x durante esse filme, e olha que nao durmo em filmes, recomendo ficarem longe desse
A perfectly tight, drum of a film. It has the Haneke trademarks of perfect pacing as well as meticulous, unrelenting suspense. But it's also oddly hollow; no real plot, and hence no need for resolution; just a magnetic discomfort glueing you to your seat. A bit like cache in this regard, but without the raging critique of human cruelty. It's Haneke bracing for WWI with a deep, nihilist sigh.
I wasn't satisfied with the ending of this film but aside from that I felt this film reminds me of ingmar bergman's film which made me appreciate it more. The scene where the doctor and the midwife were talking is reminiscent of a scene from bergman's Winter Light. Not bad for my first haneke film.
