Benny reminds me of Dostoyevsky's Stavroguin :A smart young kid who's bored and disconnected from reality commits horrible acts in a desperate attempt to feel something. Anything. Even murder. For Haneke, Benny is the result of a cultural crisis :tv screens numb reality, showing violence with the same dull flair as news broadcasts. So do dull parents who sweep ANY problem under the rug and avoid any sort of drama.
I don't know what frightened me the most, the kid's action or the father's reaction. I got super tense during the whole second half of the film, where everything was following it course: Haneke succeeded in making me very uncomfortable in front on simple holiday footages. A strong message, still prevailing today.
Film vraiment dingue qui interroge le statut des images par rapport au réel. Deux motifs sont archi présents : les images à la télévision à travers la caméra de Benny et les transactions de Benny avec ses amis. Bref l'image, est-elle à associer à un système monétaire? non plus système qui médiatise notre rapport aux biens et aux services, mais système qui médiatise notre rapport au réel.
vu ce film il y a longtemps et choquée à l'époque .Comme toujours Haneke flirte à mon sens dangereusement avec des propositions fascisantes (au sens d'attitude autoritaire). Ces films ne sont certainement pas à mettre entre tous les yeux. Comme Jan Fabre, la provocation au service de quelle idée, de quelle pensée politique ? je redoute plus que je n'admire et ne regarde plus ses films .
Haneke at his most preachy. His thesis here is so banal that in the end it just looks like a Bresson-informed Fox News segment about violence & video-games, with commentary by Theodor Adorno. Wanna talk about video-violence, desensitization, digital alienation? Videodrome's campiness is much more relevant than this very "serious" bullshit.
Yeah! I think this ties into what I was saying re: sensuality in Jess + Moss! As our lives are increasingly mediated, we do become desensitized—and I don't mean it in the sense that things which should upset us (e.g., violence) become normalized (though that is obviously true and present in the film); rather, we literally cease to engage our senses, even forget how to sense, and consequently develop a need for...
The German bad conscience (La Vague) marks this unhealthy work. HANEKE, in austere and cruel Presbyterian PASOLINI, pushes the thesis of the parental dilemma to its absurd paroxysm. Scary & frozen. === La mauvaise conscience allemande (La Vague) marque cette oeuvre malsaine. HANEKE, en austère PASOLINI presbytérien & cruel, pousse la thèse du dilemme parental à son paroxysme absurde. Effrayant & glacé.
Nothing says "You shouldn't slaughter people as if they were pigs" more than taking a dreamy week off in Egypt. Haneke explores how voyeurism, technology, new media and a privileged life can lead to such emotional detachment that people are capable of doing the most heinous acts just to see what it feels like. With flat screen TVs, laptops, iPhones and social media this film could premiere tomorrow in cinemas!
A steely, if sometimes heavy handed, examination of atomisation from media in general and depictions of violence in particular (the means and mode of this film itself of course). It's a familiar counter-position, although with Haneke you get the claims minus a supporting polemic and if not quite Mchuhan either, is often a series of blank eggs without a chicken. They needle long after nevertheless.
I film di Haneke, anche ai suoi esordi, hanno l'innegabile qualità di instillare violente sensazioni di terrore tramite una rappresentazione anestetizzante della vita domestica. L'indifferenza totale verso le azioni, i movimenti, le relazioni si riflettono su di un immagine che si dimentica della sua funzione, si perde sui dettagli quando non ha ancora fornito un contesto, rispecchiando così quella percezione...