In this adaptation of the novel by Nobel Prize-winning author Elfriede Jelinek, which nabbed multiple awards at the Cannes Film Festival, Isabelle Huppert plays a brilliant but sexually repressed piano instructor whose world is shattered by the sadomasochistic advances of one of her students.
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The leading trio of actors portray not human beings, but elements of Control in a film which explores it at its every extreme corner. this is Control over the self (restraint, of the camera, of the pianists) as much at is relational (the mother as a restriction of potential, the game of the lovers rewriting the sex laws against each other). to read it psychologically seems a mistake: this a film foremost about form.
the highest praise i can bestow upon this film is that it manages to create an immense empathy for the character while consciously steering away from melodrama or heavy handed storytelling.this film is a cinephile’s delicacy. note to self : WATCH EVERYTHING BY MICHEAL HANEKE
Una película donde se replica un imaginario poco común por actitudes frente al amor y los actos de placer. Llego un momento hasta el que me dio asco y remordimiento la conducta de Erika, no existe forma de describir tal emoción para formas de placer tan inexplicables como la primera vez que vemos una persona morir o comerse el raspado de un strüdell de manzana.
Deeply disturbing and yet undeniably moving. Pushing limits you didn't want to know existed to begin with. Grotesque without malice, love without hope, lust without inhibitions. It constantly defies boundaries and leaves you feeling like most Haneke's films do - like you can never go back to seeing things the way you used to.
This is one harshly sexual film and Isabelle Huppert gives an intense performance that proves she is one of the greatest actors of all time. Huppert can express more with a blank stare then most can with a ten minute monologue. Haneke crafts a meticulous film that focuses on the repression and lack of human compassion that the films characters have for each other. This is feel bad cinema at its finest.
A masterpiece. One of the greatest films of world cinema. And further confirmation that Isabelle Huppert is the greatest actor in all of cinema. I used to hate Haneke because I hated his American Funny Games and that was the first thing I saw by him. I'd avoid his work like the plague but now I want to watch everything by him. The Piano Teacher is one of the most heartbreaking films I've ever seen.
Revisiting this I am more certain than ever that Huppert gives here what is a strong contender for greatest performance in the history of cinema. Žižek is also right about this being the ultimate film about how unpleasant the results tend to be when we attempt to make our most sordid desires become a reality. After the formal radicalism of 71 FRAGMENTS and CODE INCONNU, Haneke makes a relative classicism pay off.