Das Intellektuellen-Paar Georges (Daniel Auteuil) und Anne (Juliette Binoche) fühlt sich durch anonyme Videokassetten mit Aufnahmen ihrer Wohnung bedroht. Zunächst vermuten sie einen irren Fan hinter all dem, aber es verdichten sich Hinweise, dass es etwas mit Georges Vergangenheit zu tun hat.
Michael Haneke auf der Höhe seines Könnens: Mit diesem Meisterwerk des 21. Jahrhunderts erkundete Haneke die Ambivalenz zwischen persönlicher und sozialer Schuld. Dies ist ein aufregend-beunruhigender und meisterhaft konstruierter Film, dessen Spannung keine Auflösung zu finden scheint.
Where other thriller or horror directors constantly build and release tension at regular intervals, Haneke just keeps on slowly ratcheting up the stakes until the movie snaps like a rubber band, quick and stinging.
Michael Haneke’s latest offering, Caché brilliantly converges towards early Harun Farocki themes of surveillance and terrorism though images while retaining his own recurring themes on the abstraction of videoimage representation.
First rate proof that tension and uncertainty drives momentum just as quickly as action can. Haneke's ability to let the camera just "observe" is put on full display here and it is used to stunning effect.
Re-view after so many years. We could talk of bourgeois guilt/ political accountability, or of the claustrophobic books on the shelves that aren't being read vs. the television/ screen that is controlling their/ our lives, or how the infamous last scene is like Géricault's Raft of the Medusa in motion, but it's all likely been said and, so, I'll go lightly fart between the sheets and dream of chicken decapitation.
"It's not paranoia if they are really out to get you." A psychological tour-de-force of a film. Entertaining? Hell no. It's very mundanity bruises the screen with an implicit counter-punch. Forget 'Funny Games' and 'The White Ribbon', this and 'The Piano Teacher' remain Haneke's most subversive offerings.
Haneke's exploration of memories and guilt proves to be an incredible exercise in filmmaking. His austere style augments the realism of his cinema, and forces the viewer to observe the characters and story (something which diagetically is making them uncomfortable to begin with), and all the while he does not offer any answers, merely the pieces to the puzzle. An intelligent, creative film.
"If you think it's Majid, Pierrot, Georges, the malevolent director, God himself, the human conscience - all these answers are correct. But if you come out wanting to know who sent the tapes, you didn't understand the film. To ask this question is to avoid asking the real question the film raises, which is more: how do we treat our conscience and our guilt and reconcile ourselves to living with our actions." [Haneke]
Brilliant, in a way that is not visible on the surface. Haneke leaves so much to the imagination that a great mystery is left hanging in the folds of the mundane. Not a thriller exactly, but it is Hitchcock-esque. The photography is beautiful and stark, seen through the eyes of an unidentified, disembodied observer. Watch carefully! Appears simple but is rich with detail. A wonderful metaphor is hidden in this film.