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Caché (2005) More at IMDbPro »
2009 | 2005
1-20 of 21 articles from 2009 « Prev | Next »
Michael Haneke’s The White Ribbon: Disturbing, mesmerising and wonderful
30 November 2009 7:46 AM, PST | t5m.com | See recent t5m.com news »
Michael Haneke’s The White Ribbon is the latest film from a ferociously gifted and no less provocative filmmaker at the very height of his considerable powers. Troubling, beautiful, unerringly calm yet intensely confrontational it is a film of such towering authority and icy detachment that it might go down as one of the most commanding by any director from the last decade. I have certainly seen nothing like it for intensity. Filmed in pin sharp monochrome, a feature that only accentuates the sense of aggressive objectivity, it explores themes that students of Haneke (it feels impossible to be a mere “fan” of the Austrian director as his films demand not simply passive enjoyment but deep exploration, to be repeatedly turned over, assimilated, absorbed in a search for meaning) will be familiar: guilt, violence, repression, defiance. And like not only his most widely released film Hidden (2004) but so many of his creations, »
- Nick Clarke
A season of Haneke at the BFI
25 November 2009 5:48 AM, PST | Twitch | See recent Twitch news »
With so much praise being piled on Michael Haneke's latest meticulous work, The White Ribbon, it's a great time to reassess some of his back catalogue - and in what better way than on a big screen at the BFI. London's Southbank complex is hosting a season of the Austrian's work from today until 17th December, screening Funny Games Us, Hidden, The Seventh Continent, Time of the Wolf, and of course, The White Ribbon. Haneke's fastidious compositions and lengthy takes demand theatrical viewing to fully absorb, so it's a rare and rather special opportunity for fans and sceptics alike.
You can buy tickets here.
»
In the village of the damned
14 November 2009 4:06 PM, PST | The Guardian - Film News | See recent The Guardian - Film News news »
Michael Haneke's Palme D'or winner offers a spellbinding tale of bigotry and brutality in a pre-Great War rural German community, says Philip French
Numerous novelists, dramatists and film-makers have been attracted to the period immediately preceding the outbreak of the First World War to give their work a touch of nostalgia, irony or historical resonance.
Jb Priestley, whose life had been transformed by his experiences on the Western Front, was among the earliest with his 1934 play Eden End, set in 1912 Yorkshire. Isabel Colegate's novel The Shooting Party (filmed by Alan Bridges in 1984) takes place at a grand country house in 1913. István Szabó's movie Colonel Redl cuts straight from its eponymous antihero's death to the Austro-Hungarian army going into battle, though it was as early as 1916 that the Austrian wit Karl Kraus launched one of the last century's greatest cliches by having a newsboy enter a Viennese cafe shouting: "Extra! »
- Philip French
Haneke: I may collaborate with Houellebecq
13 November 2009 5:32 AM, PST | The Guardian - Film News | See recent The Guardian - Film News news »
The Austrian director of The White Ribbon reveals that he and the controversial French author have discussed working together
Both are savage pessimists. Both have redefined the limits of their respective art forms. Both have expressed their admiration for the other. But it's only now that the possibility of their working together has been confirmed.
In London to promote his new film, The White Ribbon, Michael Haneke revealed to guardian.co.uk/film that he and the controversial author Michel Houellebecq had discussed mutual projects.
"I've read every book of Houlellebecq's and wondered myself whether we could perhaps work together," he said. "We have considered it and talked about it, but he's got so much to do and I've got so much to do, so we haven't got very far yet."
Houellebecq has long been interested in transferring his work to the cinema. His novel, Atomised, was adapted for the »
- Catherine Shoard
The Auteurs Daily: Film Comment (and Updates)
7 November 2009 7:17 AM, PST | The Auteurs | See recent The Auteurs news »
Selections from the November/December 2009 issue of Film Comment have been posted along with a few online exclusives, among them, the full uncut version of Alexander Horwath's interview with Michael Haneke: "It took several major awards at Cannes, for The Piano Teacher (01), Caché (05), and now The White Ribbon, for the Austrian public to accept Haneke, at age 67, as one of 'their' pre-eminent artists. He'll never turn into a king of hearts, nor - as he explains in the following interview - did he ever remotely strive for that role in the cultural card game. But in the private hunchbacked world of his garden, he appears as a much more relaxed, funny, and pleasure-embracing human being than his public persona would ever seem to admit." »
Holiday Preview: Anywhere But a Movie Theater
4 November 2009 11:14 AM, PST | ifc.com | See recent IFC news »
More Holiday Preview: [Theatrical Calendar]
[Repertory Calendar] [Anywhere But a Movie Theater]
On Demand
IFC Films (with whom, full disclosure, we obviously share a parent company) will be delivering new films all holiday season to homes across the country through their Festival Direct and Sundance Selects labels. These include the cross-cultural romantic dramedy "I'll Come Running" (Nov. 4), Josiane Balasko's farce "A French Gigolo" (Nov. 6), the Inuit tribal drama "Necessities of Life" (Nov. 11), the Brit crime thriller "Adulthood" (Nov. 18), the Indian love story "Return to Rajapur" (Nov. 25), the Christopher Masterson-Bijou Phillips celibacy satire "Made for Each Other" (Dec. 2), "Harry Potter" helmer David Yates' gritty two-part drama "Sex Traffic" (Dec. 2 and 9), the Korean comedy "Night and Day" (Dec. 23) and "The Ghost" (Dec. 30).
Meanwhile, in the newly launched Sundance Selects series, there's a pair of harrowing documentaries VOD premieres: Kief Davidson's coming-of-age boxing doc "Kassim the Dream" (Nov. 27) and the unvarnished biopic "Nick Nolte: No Exit" (Dec. »
- Stephen Saito
The Oscar Race Begins on November 6th
1 November 2009 3:54 PM, PST | FilmExperience | See recent FilmExperience news »
That's just 5 days away. That's the (un)official start date. I'm declaring it. It used to be the Nbr's announcement of their top ten list but with more and more awards groups clamoring to yell "first!", "first!" has lost virtually all its meaning. Or rather, it's meaning has changed. It now means "We're desperate for attention!" ...though maybe it always did. So, Nov. 6th is the day...
...since that's when a lot of folks will get their first look at Precious ["for you consideration..." in virtually every category save Best Actor and Supporting Actor. No, Lenny Kravitz's male nurse doesn't count]. That's when that particularly buzzy contenduh goes from being a movie with deafening hype and buzz (huzz? bype? hypzz?) to being a real thing, a movie audiences can react to in a less abstract, more honest and less controllable-by-campaign-and-hype way. As it should be.
[tangent] I always find it strange when people call me an elitist (I assume because I generally prefer unravelling female protagonists to superpowered men in costumes?) because I'm actually populist at heart. I demand that cinema of all types readily available to the masses! The Oscars are frustrating in this way because the type of films that matter to the Academy -- and to drama nuts like you (I assume if you're reading Tfe) -- are ever more skittish about being seen, hiding in tiny little theaters in only the biggest cities, as if too many curious eyeballs would ruin their strenuous beauty.
If it were up to me you'd have to open by Christmas at the absolute latest in the top six to eight markets (something like that -- thus making you an actual release in the year in which you're asking for statues and top ten lists) instead of just Los Angeles by the 31st for a one week run on one screen. (I fail to see how such tiny in-name-only "releases" within a calendar year are any different in practice than festival showings which do not make you eligible). [/tangent] »
- NATHANIEL R
tMF Perspectives: Michael Haneke's The White Ribbon and his polemical statements against the American 'barrel down' cinema
26 October 2009 1:46 AM, PDT | The Movie Fanatic | See recent The Movie Fanatic news »
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump! »
- modelwatcher@gmail.com (Jed Medina)
tMF Perspectives: Michael Haneke's The White Ribbon and his polemical statements against the American 'barrel down' cinema
26 October 2009 1:46 AM, PDT | The Movie Fanatic | See recent The Movie Fanatic news »
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump! »
- modelwatcher@gmail.com (Jed Medina)
tMF Perspectives: Michael Haneke's The White Ribbon and his polemical statements against the American 'barrel down' cinema
26 October 2009 1:46 AM, PDT | The Movie Fanatic | See recent The Movie Fanatic news »
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump! »
- modelwatcher@gmail.com (Jed Medina)
tMF Perspectives: Michael Haneke's The White Ribbon and his polemical statements against the American 'barrel down' cinema
26 October 2009 1:46 AM, PDT | The Movie Fanatic | See recent The Movie Fanatic news »
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump! »
- modelwatcher@gmail.com (Jed Medina)
tMF Perspectives: Michael Haneke's The White Ribbon and his polemical statements against the American 'barrel down' cinema
26 October 2009 1:46 AM, PDT | The Movie Fanatic | See recent The Movie Fanatic news »
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump! »
- modelwatcher@gmail.com (Jed Medina)
A Conversation with Christian Berger, Cinematographer of Michael Haneke's The White Ribbon
9 October 2009 11:30 AM, PDT | Movieline | See recent Movieline news »
Cinematographer Christian Berger has been Michael Haneke's eye for many of that director's most critically acclaimed and talked about films, beginning with 1992's Benny's Video and continuing through 2001's The Piano Teacher and 2005's Caché. With this year's Palme d'Or-winning The White Ribbon, both men have taken a major aesthetic detour from the paranoid postmodern landscapes that characterized their previous efforts, landing instead in pre-wwi Germany, in an agrarian village full of dark secrets. Shooting in black and white with an assured hand, Berger paints stunning monochromatic landscapes, portraits and still lifes of a society savoring its last moments of innocence. We spoke by phone to Berger yesterday from his home in Austria. »
The White Ribbon Trailer Online
7 September 2009 4:36 AM, PDT | EmpireOnline | See recent EmpireOnline news »
The White Ribbon, Michael Haneke's latest, won itself a small army of admirers and a Palme D'Or in Cannes, and although anyone not lucky enough to have strolled la Croisette will have to wait until November to see it, it'll reward your patience. Love him or hate him, Haneke is one of the most provocative and challenging filmmakers at work. He's also, quietly, one of the most versatile, switching from the postmodern tricks of Hidden, to his Us remake of horror-thriller Funny Games and now to the crisp, Bergman-esque storytelling of The White Ribbon. Here's the new international trailer to give you a flavour of one of Haneke's finest.Set in a small German village on the eve of the Great War, The White Ribbon charts a series of sinister and unexplained incidents that lead to brutal recrimination and tragedy. Beautifully shot in stark black and white, it's moving, »
Telluride Review: The White Ribbon
6 September 2009 10:03 AM, PDT | Cinematical | See recent Cinematical news »
You may know Michael Haneke as the fiery, audience-disdaining provocateur of Funny Games - the subtitled original or the American shot-by-shot remake, no matter. And if so, you may understandably want to steer clear of further efforts by the filmmaker. After all, most sane people don't go to the movies to spend two hours getting yelled at by a crazy Austrian. Even Caché, which I actually thought was quite good, could feel awfully haughty -- like it was somehow above having a plot that's comprehensible on a literal level, without having to stretch for abstract explanations and metaphors.
The White Ribbon, which won the Palme d'Or at Cannes, has been described - and, in some circles, condemned - as a "departure" for Haneke. That's true. Though the film's dogged austerity and formal precision will be familiar to cinephiles, The White Ribbon features an honest-to-goodness story, one that works on its »
- Eugene Novikov
It's Going to be a 'White' Christmas for Spc
17 June 2009 | ioncinema | See recent ioncinema news »
- Forget about the Time Life collection video series on World War I, if you are dying for a history lesson and more specially learn the prelude to the first War to End All War began then all you need to look at it the internal power struggles that were occurring in small villages that populated Germany at that time. You see, the mother and fathers were not on the same wave length as their children. Perhaps this Xmas you'll want to dig into Michael Haneke's The White Ribbon - Sony Pictures Classics has just announced that the 25th is the best date for a tale that pits adults versus children and where strange events happen at a rural school in the north of Germany during the year 1913. With ritual punishment and white ribbon markings, the drama looks at how this affect has on the school system, and in »
Haneke wins Palme d'Or at Cannes
24 May 2009 6:04 PM, PDT | digitalspy | See recent digitalspy news »
Michael Haneke's The White Ribbon won the Palme d'Or at the 2009 Cannes Film Festival on Sunday. Haneke edged out top contenders including Quentin Tarantino's Inglourious Basterds, the Pedro Almodovar-helmed Broken Embraces and Isabel Coixet's Map Of The Sounds Of Tokyo for the acclaimed film prize. The Austrian director's previous movies include The Piano Teacher, Hidden and Funny Games. Accepting the award, Haneke said: "Sometimes my (more) »
- By Marcell Minaya
Cinefiles rejoice: Haneke finally wins Palm d'Or for 'The White Ribbon'
24 May 2009 12:20 PM, PDT | Hitfix | See recent Hitfix news »
The world's critics may not have found many films to get overjoyed about during this year's 62nd Cannes Film Festival, but the grand jury had to reward someone and they found a worthy candidate. Acclaimed director Michael Haneke, who had never won the festival's top award despite having four masterworks play in competition, finally received the Palm d'Or for his latest, the somber drama "The White Ribbon." The filmmaker is best known in the United States for "Caché," which was inexplicably not nominated for the best foreign language Oscar in 2006, and "Funny Games," which the director remade for English... »
- Gregory Ellwood
Cannes 2009: Michael Haneke’s The White Ribbon
21 May 2009 8:16 PM, PDT | Alternative Film Guide | See recent Alternative Film Guide news »
Dave Calhoun in Time Out London, via David Hudson’s The Daily: "For quite some time at the beginning of Michael Haneke’s latest film, which is a two-and-a-half hour parable of political and social ideas set entirely in a north German village in 1913 and 1914, you wonder what you’re watching, how its disparate parts hang together and what it all might mean. More than ever, the playful, challenging, sometimes shocking director of Hidden, Funny Games and Time of the Wolf solidly resists answering the ‘what’s it all about?’ question and makes you work hard to make sense of what you’re seeing. As in Code Unknown, he resists focusing on one story or a limited number of characters and instead offers a wide, rich canvas of people and experiences linked only by the fact that they are neighbours and increasingly all subject to a burgeoning threat from within. »
- Massimo David
Cannes 2009: White Ribbon review
21 May 2009 4:49 AM, PDT | TotalFilm | See recent TotalFilm news »
Audience applause was muted for Michael Haneke’s new film last night – though there was a small ovation from the Tf camp. Showing in competition, The White Ribbon is the German auteur’s first Cannes entry since 2005’s Best Director-winning Cache (Hidden). Like that masterwork, this is another whodunit – albeit of a very different flavour. It’s set in a village in Protestant northern Germany on the eve of World War I. Narrated in hindsight by schoolteacher Lehrer, it opens ominously with a...
. »
- Total Film
2009 | 2005
1-20 of 21 articles from 2009 « Prev | Next »
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