Michael Haneke

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It was just a matter of time before Michael Haneke and Franz Kafka crossed paths. The Castle, the Austrian filmmaker’s made-for-TV version of the Czech writer’s famous unfinished novel, promises an intriguing meeting between these two dedicated misanthropes, yet despite the overlapping bleakness of their worldviews, the film is notable mostly as an example of how somebody can follow a work to the letter and still miss its essence. K. (Ulrich Mühe) comes in from the cold, summoned by the mysterious officials at “the Castle” to an isolated village for a position as land surveyor; instead he finds himself reluctantly engaged to forlorn barmaid Frieda (Susanne Lothar), saddled with a couple of dolts (Felix Eitner and Frank Giering) for assistants, and trudging in circles in the snow, helplessly trying to unscramble the tortuous snafu that’s made him “superfluous and in everybody’s way.” Haneke’s last Austrian picture before his departure to France and richer, less offensive films (The Time of the Wolf, Caché), The Castle is something of a companion piece to the director’s deplorable, hectoring Funny Games, even bringing back the earlier film’s tormented couple for another round of inexplicable distress.Read More »

Haneke depicts the emotional story of an adulterous relationship between a journalist and a teacher. The film poignantly explores the difficult dynamics between people who love one another but still can’t keep from hurting one another. Variation has been described by its director as being closer to John Cassavetes than to Hollywood melodrama.Read More »

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The second part of Haneke’s “glaciation trilogy” begins with a buzz and a bang: the white noise of a television screen snow shower and then the bang of a pig being shot on the subsequent home video. Benny’s Video is the most accessible film of the trilogy, but still never departs from Haneke’s powerful concoction of brutal images and laconic montage. Benny is a neglected son of rich parents in Vienna. He spends his days and nights in his room lost in a cobweb of video equipment, cameras, monitors and editing consoles. He keeps his shades drawn at all times and experiences the outside world mediated through the camcorders he has set up outside his windows. He obsessively reviews the farmyard killing of a pig in forward and reverse, slow motion and freeze-frame. Intermittently, he flips through channels full of news on neo-nazi killings, toy commercials, war films and reports on the incipient war in Yugoslavia. One day he meets a girl at the video store and invites her back to his empty house. He shows her the stun-gun used to kill the pig and shoots her with it. The girl’s death is shot visually out of the camera’s frame although the audience is privy to excruciating minutes of screams and whimpers. In the end, Benny foils his parents’ perversely cynical attempt to cover up the murder.Read More »

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71 Fragments of a Chronology of Chance (German: 71 Fragmente einer Chronologie des Zufalls) is a 1994 Austrian drama film directed by Michael Haneke. It has a fragmented storyline as the title suggests, and chronicles several unrelated stories in parallel. Separate narrative lines intersect in an incident at the last of the film: a mass killing at an Austrian bank. The film is set in Vienna, October to December 1993.

The film is divided into a number of variable-length “fragments” divided by black pauses, and apparently unrelated to each other. The film is characterised by quite a lot of fragments that take form of video newscasts unrelated to the main storylines. News footages of real events are shown through video monitors. Newscasts report on Bosnian War, Somali Civil War, South Lebanon conflict, Kurdish–Turkish conflict, and molestation allegations against Michael Jackson.Read More »

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This utterly compelling psychological thriller from Michael Haneke – one of cinema’s most daring, original and controversial directors – stars Daniel Auteuil as Georges, a TV presenter who begins to receive mysterious and alarming packages containing covertly filmed videos of himself and his family. To the mounting consternation of Georges and his wife (Juliette Binoche), the footage on the tapes – which arrive wrapped in drawings of disturbingly violent images – becomes increasingly personal, and sinister anonymous phone calls are made. Convinced he knows the identity of the person responsible, Georges embarks on a rash and impulsive course of action that throws up some unpleasant facts about his past and leads to shockingly unexpected consequences.Read More »

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Wer war Edgar Allan? (Who Was Edgar Allan?). 1984. Austria/West Germany. Directed by Michael Haneke. With Paulus Manker, Rolf Hoppe. Based on the novel by noted Austrian writer Peter Rosei, who draws on Poe’s themes of doubling, shadowing, and the uncanny, this atmospheric mystery, set in Venice over four distinct seasons, follows a German art student suffering from some unnamed illness, existential or otherwise. He is befriended by a shady and secretive German American gentleman, “Edgar Allan,” who seems intent on driving him mad by dogging his every move. Haneke’s Venice is a figment of the (paranoid) imagination, where strange characters make unwanted intrusions and clues are laid out like pieces of an incomplete jigsaw puzzle. In German; 83 minRead More »

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“24 Realities per Second” portrays Michael Haneke’s work and his view of cinema.

Nina Kusturica and Eva Testor accompanied and observed Michael Haneke over a period of two and a half years during his work. Location scouts, film premieres, public appearances, discussions with audiences, radio interviews, on set, editing rooms. The rare conversations occur almost incidentally in cars, trains and planes. The objective of the film is the precise observation in different situations, out of which emerges an obsessed filmmaker. The thoughts of a man become apparent through his actions and the nature of his activity.

“24 Realities per Second” sketches with many little episodes and a few conversations the working universe of Michael Haneke. In contrast to the numerous interviews that Haneke gave in the course of his career, the film does not focus on his eloquence but concentrates on his craftsmanship.Read More »

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Described as an answer to Fassbinder’s The Marriage of Maria Braun, Fraulein tells the story of a German woman and a former French prisoner of war living in 1950s Germany. Instead of playing a role in rebuilding her country, Haneke’s heroine remains preoccupied with her personal affairs. Shot predominantly in black and white (with a color sequence added toward the end), Fraulein asserts Haneke’s place alongside the masters of the New German Cinema.Read More »