The White Ribbon, 2009

Set in an unidentified Protestant village in northern Germany during the early part of the twentieth century, Michael Haneke’s luminous and atmospheric The White Ribbon is a crystallization of his recurring preoccupations with the ambiguity of truth, class division, surveillance, and the violence of repression. Prefacing the story with the acknowledgment that his memory of […]

Caché, 2005

Michael Haneke’s latest offering, Caché brilliantly converges towards early Harun Farocki themes of surveillance and terrorism though images while retaining his own recurring themes on the abstraction of videoimage representation (as in The Seventh Continent), the desensitization of images (as in Benny’s Video), and the breakdown of (social) order as a consequence of failed communication […]

Time of the Wolf, 2003

Set in the indeterminate milieu of an idyllically pastoral, rural province, a family from “the city” arrives at their summer home for a seeming holiday getaway to find a hostile, armed squatter and his family in the premises. Following an unprovoked act of senseless violence, Anna (Isabelle Huppert) and her children, Eva (Anaïs Demoustier) and […]

Code Inconnu/Code Unknown, 2000

In an age of a borderless, new European economy, the volatile encounter of four people on an anonymous Parisian street underscores the underlying social disparity inherent in any increasingly multicultural, contemporary urban society. A brash, impatient young man named Jean (Alexandre Hamidi) accosts his older brother’s girlfriend, an actress named Anne (Juliette Binoche), on the […]

The Seventh Continent, 1989

A faceless and unassuming family waits in oppressive silence, passively watching the rhythmic, mechanized motion of detergent sprays, high pressure washers, and rotating brushes as their vehicle travels through the monotonous cleaning cycles of a car wash before driving away, past the idyllic coastal image of a billboard advertisement for Australian tourism. The drudgery and […]