Synopsis
A married couple is terrorized by a series of videotapes planted on their front porch.
2005 Directed by Michael Haneke
A married couple is terrorized by a series of videotapes planted on their front porch.
Daniel Auteuil Juliette Binoche Annie Girardot Bernard Le Coq Daniel Duval Maurice Bénichou Walid Afkir Lester Makedonsky Nathalie Richard Denis Podalydès Caroline Baehr Christian Benedetti Loïc Brabant Aïssa Maïga Jean-Jacques Brochier Paule Daré Louis-Do de Lencquesaing Annette Faure Hugo Flamigni Peter Stephan Jungk Diouc Koma Marie Kremer Nicky Marbot Malik Nait Djoudi Marie-Christine Orry Mazarine Pingeot Julie Recoing Karla Suarez Jean Teulé Show All…
Michael Weber Veit Heiduschka Valerio De Paolis Margaret Ménégoz Michael Katz Rémi Burah Andrew Colton
Les Films du Losange wega film vienna BIM Distribuzione CNC Filmstiftung Nordrhein-Westfalen France 3 Cinéma Eurimages Bavaria Film Filmfonds Wien OFI Canal+ StudioCanal ARTE France Cinéma WDR ORF
Hidden, 隱藏攝影機, Caché - Versteckt, cache, Saklı, Cache (Hidden), Hidden (Caché), Caché: Escondido, Caché (Escondido), 히든, Скрытое, El observador oculto
Politics and human rights Intense violence and sexual transgression Thrillers and murder mysteries terrorism, thriller, gripping, intense or political cops, murder, thriller, detective or crime racism, african american, powerful, hatred or slavery powerful, emotion, storytelling, poetic or captivating political, democracy, president, documentary or propaganda Show All…
you can read this film as an exploration of guilt and privilege as it applies to a man's unwillingness to accept his part in both and how that man acts as a synecdoche for all of France, but i personally am choosing to read it as a story about one fucked up couple that was still using their VCR in 2005 and how their refusal to simply not watch VHS tapes led to ruin. haneke's in the pocket of big HD-DVD
my fav haneke yet!!! consistently fascinated by the way he shoots his stories through such a clinical, cold, “objective” viewpoint, without sacrificing a dash of humanity — that talent is especially on display here, since the topic of surveillance plays such a key role. how is this movie both so dense and so sparse!?
This is from an assignment from my Art Philosophy class, hence why I mostly talk about the opening shot. I got an A.
I often argue for the importance of context in art, and this is one of the ultimate uses of it in film. The opening shot of Michael Haneke’s brilliant film Caché is at first mundane, then terrifying as it recurs throughout the film. It didn’t need to be artfully framed to serve its purpose perfectly and at first glance it isn’t, but, as is always the case with Haneke, there are myriad subtle things that add further to the disturbance.
The opening shot in question is of a domestic city street in France. It lingers for quite…
At this point, I should just tattoo Michael Haneke's name across my ass because he fucking owns it.
Caché is a tricky, tricky film, and Haneke is a tricky, tricky director. He loves to play games with his audience, much like a cat with a mouse. He relishes revealing the part we play as viewers, and consequently calling into question the act of viewership itself. Wheras Funny Games forces us to engage with our participation in film violence (specifically films of the tortue porn variety), Caché poses a question for the audience: is it possible that we are the stalker?
There's much to debate about who, exactly, is filming the tapes that terrorize the Laurent family. The brilliant final shot seems to be providing…
that Leonardo DiCaprio pointing at the tv meme is me whenever I’m watching the ending of Caché
Caché is so gripping, its dark tale of bourgeois guilt perfectly suited to Haneke's enchantingly brutal style. Everything here is too close to reality in an audio and visual sense, making it never feel quite right in the best way possible. Caché is a film about dredging up secrets and the way that guilt lingers and festers. The subtext about colonialism and society having never owned up to its wrongs from prior years is something everyone analysing Caché seems to draw upon. But I feel it extends beyond that to 21st century phenomena and consequences. There's more than one allusion to trouble in the Middle East, which seems a fantastic example of how past wrongs now bleed into our present.…
I'm not even going to begin trying to decipher this complex web of mystery and deception that I just witnessed. After a few more viewings, I may be able to provide a better and more informed analysis. What I can say is that this is certainly potentially one of the greatest films of the 21st century, true to what others have told me.
Roger Ebert summed it up best .. CACHÉ is a Riddle, Wrapped in a Mystery, inside an Enigma!
To say Director Michael Haneke is a one of a kind filmmaker is a significant understatement. His ability to subvert the expectations of cinema requires viewers to reach up to his level of visionary brilliance to fully appreciate his work.
On the surface Cache is a dull French family drama with some solid camera work and a couple shock factor scenes. While I did not that' feel that negatively about it at first, its inner meanings did escape me.
Haneke says it plainly in his title, which in English means hidden. So that means we have to look closely in order appreciate…
Turn on tape recorder.
Michael Haneke, or how to subvert your expectations in the most effective manner. Caché, or how to hide the true focus of your movie in a mysterious tape you can't and won't make sense of because that's the point that it's not the point. Subversion, or how to decode the true focus of the mysterious tape: a man's guilt-ridden conscience over a long-buried childhood deed. Blood all over the screen, or how to make the deadly slit in man's conscience. Static wide shots that do not zoom in on the subject, or how you'll see the focus only after the last shot. By then, the film down memory lane will have finished. But the tape will be forever broken.
Turn off tape recorder.
Added to Michael Haneke
This psychological thriller from Austrian filmmaker Michael Haneke possesses a tremendous central performance from Juliette Binoche as a wife going through a series of disturbing experiences. The trademark Haneke touches, such as his thoroughly voyeuristic approach and his preference for long shots, assures the film is elevated continuously beyond its rather generic framework.
The atmosphere generated has a taut and gripping quality and while the storytelling is, at times, intentionally bewildering as well as deciding to leave several of its narrative threads unresolved as it's psychological examinations squirm to the surface together with a commentary on the potency of regretfulness. Caché contains a discernible sense of fear alongside its disquieting rhythms and is a movie that is difficult not to appreciate.