Michael Haneke makes films that I deeply admire much more
than I truly love. They are technically sound. It is clear he has a profound
natural ability to use the camera to create chilling scenes, empty spaces that
suggest isolation, and stories that reveal various elements of the human
condition. Whether it’s the cruel sadism of Funny
Games, the psychosexual power of The
Piano Teacher, the paranoia of Caché,
or the wicked punishment of collective guilt in The White Ribbon, Haneke’s films are always challenging, never made
for easy viewing, and rarely offering anything short of material for endless
discussion with your cinephile friends.
