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I love France, and I love French movies. Even though Michael Haneke is Austrian, this is a quintessentially French movie. it's arthouse to the point of love it or hate it, but it's absolutely my kind of movie. At times it's so "slow" you wonder if you're watching a still image, until somebody rides past on a bike or walks through the frame, but that's all part of the movie's meditation on watching and being watched.
Some have found it unsatisfying as narrative, but in an accompanying interview here Haneke explains his intentions clearly. Comparing reviews, I find Roger Ebert to be on the money while James Berardinelli misses it, I think, on this occasion. This film is not for casual viewers, who could easily be enraged by the Antonioni school of slow, but the closing shot is typical: as we watch a crowded frame it's easy to think that nothing at all is going on. As Haneke relates in the interview, about half of viewers he surveyed don't see what's happening, but "hidden" ("cache") in the frame, which is the movie's whole point.
création "indienne" sur grand cache pot de porcelaine que j'ai reçu tout blanc !
La couleur de fond est du rouge indien. Les éléphants ont été décorés avec des couleurs vives et de l'or brillant. Déc.-janv.09/10
BAGHDAD – Co. B, 2nd Bn., 7th Inf. Regt., Soldiers follow Iraqi Security Forces on a joint cache search near Mahmudiyah Feb. 17. (U.S. Army photo by Spc. Jared Eastman, 1st BCT-A, 3rd ID, USD-C)
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