| Photos (see all 12 | slideshow) |
| Juliette Binoche | ... | Anne Laurent | |
| Thierry Neuvic | ... | Georges | |
| Josef Bierbichler | ... | The Farmer (as Sepp Bierbichler) | |
| Alexandre Hamidi | ... | Jean | |
| Maimouna Hélène Diarra | ... | Aminate | |
| Ona Lu Yenke | ... | Amadou | |
| Djibril Kouyaté | ... | The Father | |
| Luminita Gheorghiu | ... | Maria | |
| Crenguta Hariton | ... | Irina (as Crenguta Hariton Stoica) | |
| Bob Nicolescu | ... | Dragos | |
| Bruno Todeschini | ... | Pierre | |
| Paulus Manker | ... | Perrin | |
| Didier Flamand | ... | The Director | |
| Walid Afkir | ... | The Young Arab (as Walide Afkir) | |
| Maurice Bénichou | ... | The Old Arab | |
| Carlo Brandt | ... | Henri | |
| Philippe Demarle | ... | Paul | |
| Marc Duret | ... | The Policeman | |
| Arsinée Khanjian | ... | Francine | |
| Florence Loiret | ... | Amadou's Friend | |
| Nathalie Richard | ... | Mathilde | |
| Andrée Tainsy | ... | Mrs. Becker | |
| Elisabeth Marceul | ... | Child | |
| Melissande Zeddam | ... | Child | |
| Brandon Croteau | ... | Child | |
| Sonia Chauvelin | ... | Child | |
| Baptiste Gintzburger-Batle | ... | Child | |
| Sarah Agogue Tasse | ... | Child | |
| Alexandra Croteau | ... | Child | |
| Jerome Ferreira | ... | Child | |
| Melanie Lhote | ... | Child | |
| José Marques | ... | Child | |
| Guessi Diakite-Goumdo | ... | Salimata | |
| Jean-Yves Chatelais | ... | Shop Owner | |
| Laurent Suire | ... | Policeman | |
| Féodor Atkine | ... | Man in Taxi (voice) | |
| Malick Bowens | ... | Witch Doctor | |
| Ioan Marian Boris | ... | Nicu | |
| Monica Popa | ... | Nuta | |
| Ada Navrot | ... | Florica | |
| Giba Gonçalves | ... | Percussion Teacher | |
| Dominique Douret | ... | David | |
| Tsuyu Shimizu | ... | David's Friend (as Tsuyu Bridwell) | |
| Antoine Mathieu | ... | Restaurant Waiter | |
| Constantin Barbulescu | ... | Mihai Popa | |
| Domeke Meite | ... | Demba | |
| Marany Fofana | ... | Youssouf's Sister | |
| Aïssa Maïga | ... | Black Girl with Blonde Hair | |
| Costel Cascaval | ... | Man in the Garden | |
| Sandu Mihai Gruia | ... | Group Leader | |
| Daniel Dublet | ... | Uncle | |
| Boris Napes | ... | Father in Cemetery | |
| Isabelle Pietra | ... | Mother in Cemetery | |
| Cristina Ioanidis | ... | Tatiana | |
| Ion Haiduc | ... | Man in Squat | |
| Guillaume Morvilliers | ... | Pierrot | |
| Pascal Loison | ... | Jolly Man | |
| rest of cast listed alphabetically: | |||
| Jeff Cullen | ... | Character portrayal | |
| Irina Lubtchansky | ... | Camera Assistant | |
Directed by | |||
| Michael Haneke | |||
Writing credits(in alphabetical order) | ||
| Michael Haneke | writer | |
Original Music by | |||
| Giba Gonçalves | |||
Cinematography by | |||
| Jürgen Jürges | |||
Film Editing by | |||
| Karin Hartusch | |||
| Nadine Muse | |||
| Andreas Prochaska | |||
Casting by | |||
| Kris Portier de Bellair | |||
Production Design by | |||
| Emmanuel de Chauvigny | |||
Set Decoration by | |||
| Laurence Vendroux | |||
Costume Design by | |||
| Françoise Clavel | |||
| Gloria Papura | |||
Makeup Department | |||
| Isabelle Luzet | .... | key hair stylist | |
| Thi-Loan Nguyen | .... | key makeup artist | |
| Ion Toma | .... | key makeup artist | |
Production Management | |||
| Bruno Bernard | .... | unit production manager | |
| David Crenn | .... | assistant unit manager | |
| Diona Dragnea | .... | production manager: Romania (as Doina Dragnea) | |
| Manuel Recolin | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Melia Cerchez Anghel | .... | assistant director: Romania | |
| Denis Imbert | .... | assistant director | |
| Arnaud Mathey-Dreyfus | .... | assistant director | |
| Virgil Nicolaescu | .... | second assistant director | |
| Alain Olivieri | .... | first assistant director | |
| Joseph Rapp | .... | assistant director | |
| Dorel Torcatoru | .... | assistant director: Romania | |
| Gaëlle Tronquit | .... | trainee assistant director | |
Art Department | |||
| Véronique Barnéoud | .... | first assistant art director | |
| Gabriel Bucur | .... | assistant decorator: Romania | |
| Bernard Chenevier | .... | construction manager | |
| Yann Dury | .... | carpenter | |
| Corinne Martin | .... | painter | |
| Calin Papura | .... | set decorator: Romania | |
| Thomas Pitre | .... | property master | |
| Olivier Prost | .... | assistant decorator | |
| Jean-Luc Schwarz | .... | key painter | |
| Vlad Teodor | .... | assistant decorator: Romania | |
| Annie Tourriol | .... | assistant decorator | |
| Ion Vasilescu | .... | assistant decorator: Romania | |
| Laurence Vendroux | .... | construction manager | |
| Wouter Zoon | .... | property master | |
Sound Department | |||
| Edouard d'Heucqueville | .... | sound mix technician | |
| Dominique Eyraud | .... | boom operator | |
| Eric Ferret | .... | sound mixer | |
| Judith Guittier | .... | assistant foley artist | |
| Jean-Pierre Laforce | .... | sound mixer | |
| Lionel Lebras | .... | boom operator: post-synchronisation | |
| Laurent Lévy | .... | sound effects editor | |
| Nadine Muse | .... | sound editor | |
| Guillaume Sciama | .... | sound engineer | |
Special Effects by | |||
| Séverine De Wever | .... | production coordinator | |
| Pierre Foury | .... | special effects | |
| Daniel Lenoir | .... | special effects | |
| Benoît Squizzato | .... | special effects | |
Visual Effects by | |||
| Olivier Poujaud | .... | digital compositor | |
| Antoine Simkine | .... | visual effects executive producer: Duboi | |
| Daniel Trujillo | .... | digital artist | |
Camera and Electrical Department | |||
| André Atellian | .... | key grip (as Andre Attelian) | |
| Sandel Bacalu | .... | gaffer: Romania | |
| Frédéric Batier | .... | second assistant camera | |
| Benoît Bayle | .... | grip | |
| Marion Befve | .... | second assistant camera | |
| Guy Bordet | .... | electrician | |
| Carlos Cabeceran | .... | Steadicam operator | |
| Olivier Cazzitti | .... | gaffer | |
| Marian Ene | .... | grip: Romania | |
| Nicolae Geoana | .... | electrician: Romania | |
| Jim Howe | .... | gaffer | |
| Jean-Bernard Josko | .... | grip | |
| Irina Lubtchansky | .... | first assistant camera | |
| Jérémie Nassif | .... | still photographer | |
| Florin Nicolae | .... | electrician: Romania | |
| George Nicolae | .... | electrician: Romania | |
| Gérard Rival | .... | grip | |
| Marian Sandor | .... | second assistant camera: Romania | |
| Joel Spinola | .... | electrician (as Joël Spinola) | |
Costume and Wardrobe Department | |||
| Adina Bucur | .... | costumer: Romania | |
| Germaine Ribel | .... | costumer | |
Editorial Department | |||
| Yannick Coutheron | .... | assistant editor | |
| Pierre Réali | .... | color timer | |
Other crew | |||
| Razvan Constantinescu | .... | general administrator: Romania | |
| Aline Corneille | .... | production secretary | |
| Mariana Costea | .... | production assistant: Romania | |
| Eric Dupressoir | .... | groupman | |
| Greg Engler | .... | location consultant: pre-production | |
| Mathilde Incerti | .... | press attache | |
| Nathalie Kreuther | .... | production assistant | |
| Lina Martins | .... | assistant: Juliette Binoche | |
| Chloé Perlemuter | .... | script supervisor | |
| Gisèle Vuillaume | .... | production administrator | |
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| IMDb Drama section | IMDb France section | Add this title to MyMovies |
Paris, in the year 2000. A thoughtless gesture (a scrap of paper thrown in the hands of a beggar) causes a general altercation. As a matter of fact, the Austrian film-maker Michael Haneke goes from this incident to relate bits of various characters' lives. There's among others, Anne (Juliette Binoche), an actress who travels from movie to movie. Her husband, Georges a war photographer whose photos express pain and suffering from the countries he visited. Jean who fled from his father's farm in the north of France to come to Paris. Amadou who works in an institute for deaf and dumb children and Maria, a Romanian woman who has trouble to make ends meet by begging. Like "71 Bits" (1994), Haneke's movie is a patchwork of sequences shot in real time and interrupted with short black screens to have a break and in the same time to think about the sequence shot we have just seen.
Shortly before the incident when Jean wants to go to Anne's flat, the latter tells him the code of her flat: "if you want to enter my flat, the code of my building is B4718". I'm not sure whether it's the right code but the building could epitomize a metaphor of a man's life. Every man's life is similar to a building kept generally by a code. The title of the film is rather easy to understand. The famous "unknown code" is a blocked access to any character's real life. This code is unknown for the strangers who surround him or her and as a consequence they don't known anything of his or her real life. It's this situation that is represented in Haneke's movie.
On the surface, "Unknown Code" seems more breathable than Haneke's previous works and looks like a "Magnolia" (1999) à la Francaise. Michael Haneke juxtaposes different characters'different lives belonging to different social classes. They have apparently nothing in common except maybe that their own lives are kept by this unknown code for the others. However, they are affected by terrible sorrows which paralyze the Western society without this latter realizes it. In this Haneke's opus, there's neither the uppercut of "Benny's video" (1992), nor the icy violence of "Funny Games" (1997) but through an accurate study of these different journeys, a quiet, impressive of rigor making, the director offers a disillusioned and black vision of this society. So, he remains faithful to his favorite topics: the difficulty of communication (Amadou who tries to explain in a clumsy way his anger in front of Jean's unconsidered gesture). The way in which violence has become a feature of everyday life in a society which has become insensible to it (we can remember perfectly the sequence shot when Anne irons, she can hear shrill cries near her. She hesitates then resumes to iron). The omnipresence of racism and the insurmountable barrier of social classes (the scene in the tube is a grievous example). They are serious topics that are generally way off cinema's regular radar. It takes all Haneke's courage to explore them. Something he has relentlessly done since "the Seventh Continent" (1989). So, "Unknown Code" is a logical extension of Haneke's obsessions. To come back to the characters, they feel either humiliated either difficulties to communicate. When it crosses our minds that we live inside this distressing universe, it sends shivers down our spines. Once again Herr Haneke stirred some of the viewers's deep fears.
So, ultimately, "Unknown Code" isn't as accessible as Haneke's other works by its nonexistent linear narration and the seriousness of its theses but I think that it's a winner in Haneke's work. Of course, to watch a movie that breaks narrative conventions and expresses deeply pessimistic things is not for all tastes and that's partly why there'll never be general agreement about the famous Austrian film-maker but at least this movie brings to the light of day, thorny subjects hidden in the obscurity of cinema. It is a worthy movie far better than Hneke's next opus, "the Pianist" (2001) but that's another story...