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...
I think this movie is outdated. Not because the language of cinema has far surpassed what the upmost reaches of this film tried to achieve, but because the notion that media and film deteriorate the young mind to the point of sociopathy and psychopathy. But I choose to see this movie in a different way. Benny is the sole son of two very distant parent and without their love he find reality though video.
Like most things in life, crime is easier for the idle rich. They have the time and space to get away with it, the money to get away from it and they are the only ones with the power to bring themselves down. Benny's confession is no change of heart though, it's just him pulling at another thread to see what happens, to spurn on more drama for his movie.
Spectacularization, ideologic emptiness and the world through the lens for the masses have been a constant in Haneke's cinema, and that's why it's so important to watch one of his first films - Benny. I particularly enjoyed Arno Frisch and Angela Winkler's acting heartfully - specially from the middle on. A classic of urban neurosis and the lost of social standards by the contemporary age.
The opening scene of 'Benny's Video', before any credits have rolled or a word of dialogue has been spoken, is homemade footage of a pig being shot in the head. We see the life leave the pig's body as its shrill squeals turn into abrupt silence. The tape is rewound, then played back in slow motion. Assuming Haneke's audience is a sympathetic one, he's forced us into making the decision to look away, or to...↓