Anna und Georg leben mit ihrer Tochter Eva eigentlich das ideale Leben in der österreichischen Mittelschicht. Doch macht sich über die Jahre eine emotionale und kommunikative Vergletscherung bei ihnen breit, die sie zu einem radikalen Entschluss führt.
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Haneke destroying the sacred temple of the atomistic family. The values we associate with the family, love, security, trust, it being a shelter against the world, turn in on themselves to destroy it. For the love within family already involves violence, the security already involves selfishness, its seclusion involves alienation. The family is no refuge from the horrors of life (and death), it is an extension of it.
Modernite eleştirisi bağlamında tam bir başyapıt. Haneke daha ilk filminden Avrupa toplumunu ve bireyi ne denli rahatsızlık uyandıracak düzeyde sinemaya yansıtabileceğini bizlere gösteriyor. İzleyiciyi irrite etmekten hiçbir şekilde çekinmiyor ve kendimizi sorgulamamıza vesile oluyor.
not my favorite Haneke but affected me in a very deep way, I guess, I relate to these people and the film left me thinking about everything, and i mean every thing. on the other hand, Evi is just the cutest little girl ever.
It's masterful how Haneke initially only insinuates the events leading to the family's decision. A large part of the story happens between the shots, namely during the blackouts or - through sounds and voices - outside the frames which show a lot of details and things of daily routine but barely reveal information about the protagonists. The audience is challenged to construct a justification using these traces.
A rather laboured nihilistic intrigue that successfully builds up a rhythmic procedure of mundanities but fails to ignite much interest - intellectual or emotional - once the pattern is repeated time and again. There's a certain elan in the detached spareness and some level of comment on the robotics of life as led, but it could have been told at half the length without compromise; a question of length not pace.