Caché (2005)

User Rating:

7.2/10   

Director:

Michael Haneke

Writer:

Michael Haneke (screenplay)

Release Date:

5 October 2005 (France)

Genre:

Drama | Mystery | Thriller

Plot:

A married couple is terrorized by a series of videotapes planted on its front porch that may be the direct result from an event from years ago.

Plot Keywords:

Drawing | Police | Friend | Videotape | Dinner

Awards:

21 wins & 22 nominations

Cast

Daniel Auteuil	...	Georges Laurent
Juliette Binoche	...	Anne Laurent
Maurice Bénichou	...	Majid
Annie Girardot	...	Georges's Mom
Bernard Le Coq	...	Georges's Editor-In-Chief
Walid Afkir	...	Majid's Son
Lester Makedonsky	...	Pierrot Laurent
Daniel Duval	...	Pierre
Nathalie Richard	...	Mathilde
Denis Podalydès	...	Yvon
Aïssa Maïga	...	Chantal
Caroline Baehr	...	Nurse
Christian Benedetti	...	Georges's Father
Philippe Besson	...	TV Guest
Loic Brabant	...	Police Officer No. 2 (as Loïc Brabant)

Also Known As:

Hidden (International: English title) (UK)
Niente da nascondere (Italy)

MPAA:

Rated R for brief strong violence.

Runtime:

117 min

Country:

France | Austria | Germany | Italy | USA

Language:

French

Color:

Color

Aspect Ratio:

1.78 : 1

Sound Mix:

Dolby Digital | DTS

Certification:

Switzerland:16 (canton of Vaud) | Switzerland:16 (canton of Geneva) | Sweden:15 | Brazil:16 | UK:15 | Czech Republic:15 | Norway:15 | Ireland:16 | Portugal:M/16 | Finland:K-15 | Canada:14A (Ontario) | Netherlands:16 | Singapore:NC-16 | Germany:12 | Malaysia:(Banned) | Argentina:13 | Japan:PG-12 | Australia:MA | Hungary:16 | Hong Kong:IIB | Italy:T | Iceland:16 | South Korea:15 | New Zealand:R16 | USA:R

Filming Locations:

Paris, France

Company:

Les Films du Losange

Trivia:

In Pierrot's bedroom there are movie posters for Lost in Space (1998), The Matrix Reloaded (2003), The Chronicles of Riddick (2004), Van Helsing (2004) and In Hell (2003).

Goofs:

Continuity: In the opening scene we see the Laurent residence from a stationary camera. Three roses are visible in a window box on the left. In the same setting late in the film after much passage of time, the roses are unchanged and in the same positions.

Movie Connections:

References Benny's Video (1992)

Reflective probing of hidden guilt, but definitely not top-notch cinema

Michael Haneke's film begins as a clinical, psychological and social study of a respectable individual in European society. It ends as a study of a larger contemporary European segment of its population. It reminds one of the early works of Fassbinder—only Haneke's production values are more sophisticated. The camera becomes a character—a major one at that. This reminds the viewer that he is watching cinema at several junctures and that s/he is part of the communication/entertainment process. It makes you constantly ponder if the cinema you are watching is providing truth or lies (or something in between) 24 frames per second. The fixed-medium range shots that opens and closes the film indicate the view and mood of the director--clinical, somewhat distanced and unshaken by the story he unfolds. We also notice that what we are seeing, might not be what we think we are seeing. Antonioni did this to us in "Blow up" several decades ago.

After the screening at the on-going Dubai film festival, I was amused at the director carefully distancing himself from a situation where he could have resolved the issues—-he prefers to leave it to the viewer to do so. In a way the entertainment continues after the screening if you choose to reflect on what you saw.

At the obvious level, it is a study of colonial guilt of Europe and race relations. At a deeper level, it probes complacency and bourgeois temperaments of the financially secure classes in society. Escape from reality comes from closing curtains, shutting off the outside world and consuming sleeping tablets. At another level, the film explores the attitudes of three distinct generations towards social relationships.

Haneke uses graphic shocking violent scenes to jolt the audiences when they least expect it. He seems to enjoy the process. His strength is not in his cinema (Kubrick, in comparison, was brilliant at this game). Hanneke's strength lies elsewhere—eliciting fascinating performances from his cast. Daniel Auteuil, Julliette Binoche, Maurice Benichou and Annie Girardot were simply fascinating to watch.

The strength of the film lies in the subject that will disturb anyone. Many of us have something in our past that we wish to hide or not discuss. Yet there is a conscience in us that nags us to believe that there was a witness to that wrongdoing--a witness who cannot be buttonholed. It is this psychological fact that makes the film tick, much less its cinematic flourish.