Mr. Haneke is definitely not one of my favourite directors. I find his movies unpleasant; to be polite. This one here is no exception. Haneke touches two aspects of human nature: the fear of being observed & guilt. But the movie is a flop. Unsympathic characters including the child(ren); the empty & at least questionable plot (no thriller/mystery/drama) and the extremely slowness makes this an unbearable bore.
I liked the heavy use of stationary shots and the overall sinister vibe of the film. This is totally a personal preference but I never like how films abandon their premises to make a larger point, so the whole “it doesn’t matter who sent the tapes” thing was a little annoying.
Haneke really is a nasty sneering bastard, but not without his brilliance. I'm not going to give 5 stars to a film that includes his customary animal abuse, but it would be daft to pretend that 'Caché' doesn't succeed upon its own chilly terms. A searing indictment of Western post-colonialism and neoliberalism by a director whose ethics I don't especially trust.
Sec et sombre psychologiquement parlant, comme beaucoup de films de Haneke. En même temps, superbement filmé et monté, des plans d'une beauté incroyable, le talent des acteurs, la forme rejoint le fond dans ce qui est pour moi, jusqu'à présent, le meilleur film de mr Haneke.
Can the sins of childhood and the guilt of their outcome not only shape who we become but come back to haunt and confront us in maturity? Haneke's wonderful script brings multiple questions and interpretations to mind. Performances are strong and the endgame haunting.
The fact that the victims of the surveillance are obsessed with observing — a TV host and a publisher with a very large library — is a brilliant touch.This group whose engagement with [French] colonialism was limited to watching news reports on Iraq & discussing n'importe quoi with their mates is confronted with the reality of the cruelty they've dealt. The Other cast aside by Georges' peers is no longer peripheral.
Haneke’s intellectual predilections often gain stronger footing within quasi-narrative frameworks, as here in a cool but absorbing essay on notions of guilty concealment - itself concealed in a redacted thriller format. It’s either a narrow monument of austere obfuscation or the widest MacGuffin on record, but either way a convincing coalescence of familiar concerns of estrangement, effect without obvious cause, etc.
★★★★/ 35mm/ Haneke's brilliant film, a disturbing exploration of secrets coming to the surface, deftly blends a Hitchcockian tension with a raw brutality. Binoche and Auteuil, both superb, depict a marriage slowly corroding. Methodically paced, Haneke confidently utilizes his camera as observer, allowing the film to leisurely reveal its dark twisted truth.
76/100 (SPOİLER! Çocuk aklıyla yapılan bir hatadan bir insanı suçlamak ne kadar doğru? Film genel hatlarıyla yabancı karşıtlığına ve ırkçılığa eleştiri getirse de altını dolduramıyor. Ana başroldeki adamı suçlasa da bence suçlu bir tarafı yok çünkü hatayı yaparken çocuktu. Sırf bu yüzden ve filmin kolaycı sonu sebebiyle her iyi gidişat taca çıkıyor malesef. )