A series of nihilistic nails searching for a hammer. The crude equation of multiple compositions in the shape game as played by the killer with his later chance confluence with strangers, sums up the lazy metaphors and allusions of this film with Haneke's wagging finger at dislocation in a media-saturated society acting as a too-obvious frame. No hope is presented, just grinding continuation of dead-eyed horror.
Seumur idup baru sekali ini nonton film yang cut to black-nya bikin kondisi kamar kayak mati lampu (hanya berefek buat yang nonton dalem kamar gelap2an malem2 wih kalo ada pacar yang nemenin nonton, filmnya belum habis malah berzina? Oh Tuhan jauhkan hamba dari berbagai macam perbuatan maksiat, eh tapi kalau Tuhan benci maksiat, kenapa malah menciptakan manusia dengan hawa nafsu untuk bermaksiat? Lah kok melenceng?)
This movie could be accused of information overload. There's just an awful lot to take in and process. Not all information is relevant. Haneke has control of the TV remote, and he can't stop changing channels. It's less about trying to form a judgement and more about being a witness.
Baudrillard simulakr kuramını anlatırken şunu söyler "Birey televizyonda Sudan iç savaşını, herhangi bir tuvalet kağıdı reklamıyla aynı duyarsızlıkla izlemektedir. Televizyonu kapattıktan sonra Sudan'daki iç savaş devam etse bile onun için bitmiştir. İşte bireyin yaşadığı bu evren simülasyon evrenidir. Her şey görüntülerden ibarettir ve cansızdır." İşte bu film simülasyon kuramının ete kemiğe bürünmüş hâli gibi.
I found it outrageous the way how the cashier from the gas station appeared giving an interview and saying that he had no idea of why the murderer had committed the shooting at the bank: the cashier's rudeness appeared to me to be the trigger of the events that unfolded. I have seen many people just like that man. They annoy me deeply.