CINEMABSOLUTE

----------Warning: This article may contain spoilers!

Michael Haneke, the Austrian director who has won the Academy Award for Best International Feature Film once and the Palme d'Or twice, began the well-known part of his career at the age of 47 with he directed his first feature film. Haneke, whose roots lie in an artistic family, studied philosophy, psychology, and drama at the University of Vienna—fields that have influenced his work. Before embarking on his journey as a feature filmmaker, Haneke worked as an editor, dramaturge, television film director, and critic. Notably, one of his most famous TV films is The Castle (Das Schloß), a 1997 Kafka adaptation. An obsessive reader throughout his life, Haneke's films reflect his profound understanding of communication, which he uses to craft a unique cinematic language. The term Haneke film has come to signify a style that is unsettling, narratively static, yet compelling in its thematic and subtextual intensity.

Haneke's films tackle a broad spectrum of social issues, including migration, miscommunication, perpetual senseless wars, class, race, violence, guilt, and gender. Despite being born in 1942, he has produced some of his most significant work in the later stages of his career, earning critical acclaim and prestigious awards. Influenced a lot by the legendary Robert Bresson, Haneke has always strived to maintain his artistic independence. Throughout his career, his films have featured remarkable acting and quite consistent casting choices, though the spotlight often remains on Haneke's directorial prowess rather than individual performances. Noteworthy exceptions will surely be highlighted, emphasizing the synergy between his vision and the actors' craft. Let's delve into the filmography and distinctive characteristics of a director who is proudly embraced not only by his native Austria but also by German and French cinema.

The Seventh Continent (Der siebente Kontinent) is his debut feature film from 1989. It subjects the alienation and existential crises of modern society through the mundane and monotonous daily life of an Austrian family by using a pretty veiled story. On the surface, this family—comprising a mother, father, and children—appears to lead a perfect life, with their quality of life improving (such as the father's promotion). However, as the film progresses, we gradually feel and finally understand their inner emptiness and unhappiness, particularly through the film's powerful conclusion.The story examines the family's journey to escape their meaningless existence and embark on a new and eternal chapter in their lives, encapsulated by the meticulous and impactful portrayal of their preparation for this irreversible journey, including the dramatic destruction of their home, which both symbolizes and realizes their unlivable life ending in death.

This film, which is the first in Haneke's Glaciation Trilogy, is characterized by its calm exterior and slow pace, yet it harbors intense internal turmoil. The depiction of a collective suicide makes it a bold beginning to Haneke's feature film career and introduces his signature fragmented storytelling style. The film offers a striking spectator experience, making viewers feel closely involved with the family's plight. This immersive quality is undoubtedly one of the elements that make the film not only successful but also unique.

His second feature film, Benny's Video (1992), explores the disturbing obsession of a teenage boy, Benny, with video cameras and violent imagery. The film takes an early dark turn when Benny records himself killing a young girl at his family's home. His parents attempt to cover up the crime, but Benny's cold-blooded murder and the ensuing events offer a profound critique of modern society's relationship with violence. As the second film in Haneke's “Glaciation Trilogy”, it is powerful and compelling, with the narrative revolving around Benny’s parents trying to conceal his crime, only to be betrayed by Benny himself at the end. This serves as a metaphor for the inescapable truth of societal violence, regardless of how much it is denied.

Unlike the first film in the trilogy, "Benny's Video" presents a strong conflict between the boy and his parents, marking a critical turning point in the story. Neglected by his family, 14-year-old Benny spends most of his time watching footage he has shot with his camera, blurring his perception of reality. The situation escalates to the point where crossing the fine line between life and death becomes as simple for him as pressing the play and rewind buttons on a remote control. This film is also the first in Haneke’s repertoire to feature scenes that are not easy to watch, directly unsettling the audience. Unlike his many other works, which critiques the portrayal of news in the media and the state of the world, "Benny's Video" focuses on the protagonist's own media, emphasizing the critique of an alternative, subjective reality disconnected from the real world.

The third and final film of the trilogy from 1994, 71 Fragments of a Chronology of Chance (71 Fragmente einer Chronologie des Zufalls), presents the daily lives and challenges of seemingly unrelated individuals through 71 short scenes. These scenes feature various characters, including a university student, a refugee child, a couple seeking to adopt, and a bank employee. The film focuses on the social and personal crises that lead to the unexpected intersection of these individuals' lives, highlighting the alienation and violence in modern society.

The film's unique narrative structure, with sequences that appear disconnected yet are interwoven with black pauses, creates a distinctive storytelling style. Throughout the movie, news broadcasts relay conflicts occurring in different parts of the world, ensuring that the film's message extends beyond its immediate setting and characters, resulting in a powerful narrative. While this film shares themes of societal disconnection with Haneke's first film, it parallels the second film in its depiction of conflict. As the most original film in Haneke's "Glaciation Trilogy," it does not follow a single main character. Despite the fragmented narrative and limited character development, the film is remarkably successful in conveying its themes.

Haneke’s first international sensation Funny Games (1997), is a psychological thriller that tells the story of Anna, Georg, and their son Georgie, a wealthy family on vacation at their summer home. Their peaceful getaway is shattered when they are taken hostage by two young men, Peter and Paul, whom they meet through their neighbors. The intruders force the family to participate in a series of sadistic games, turning their struggle for survival into a horrifying ordeal.

One of the film's most revolutionary and iconic moments is the breaking of the fourth wall followed by the rewind scene. During one particularly brutal game, Anna manages to grab a shotgun and kills Peter. However, Paul finds a remote control and rewinds the film, effectively reversing the events and preventing Peter's death. This technique allows Paul to engage the audience more directly and personally, making viewers feel complicit in his actions when the scene is rewound. Haneke uses this rewind scene also to subvert traditional thriller and horror conventions, such as who lives and who dies, and whether justice is served by the end of the film. The characters delivering the violence also exhibit a comedic demeanor, emphasizing the absurdity and even strengthening horror of the situation. That particular scene boldly declares Haneke's omnipotence as the director, underscoring his control over the narrative which I believe is the strongest aspect of this work.

Haneke's focus on critiquing the European (upper) middle class is also evident once again, particularly in how they handle violence, both as perpetrators and as those insensitively unable (and also incapable) to prevent it. This film led to his first Palme d’Or nomination and laid the groundwork for his later films featuring superstar leads. Despite the film's impeccable tension, Haneke faced criticism for what some viewed as his mistreatment of the audience due to the scenes that include pure violence. Nevertheless, "Funny Games" was a pivotal step in Haneke's international recognition, also leading to the creation of an American version. Arno Frisch’s remarkable performance is noteworthy as well; having first appeared as the main character in "Benny's Video," Frisch delivers an unforgettable performance in this film too.

Code Unknown (Code inconnu: Récit incomplet de divers voyages) (2000), predominantly set in Paris, weaves a narrative where the lives of people from different social classes intersect. The story begins with a young man named Jean throwing a piece of paper in the face of a beggar woman named Maria. This seemingly trivial act sets off a chain of events affecting the lives of various characters. Anne, an actress, faces challenges in her career while her boyfriend Georges works as a war correspondent. Maria, who is an immigrant, is forced to return to Romania after all. Amadou is arrested temporarily by the police while forcing Jean to apologize to Maria, and Anne believes that Amadou attacked Jean without any cause. The film explores the interconnected lives of these characters, highlighting social discrimination and the impact of miscommunication at all levels.

This film marks Juliette Binoche's entry into the Haneke universe and represents Haneke's own introduction to French cinema. Utilizing the fragmented narrative style that has become popular in world cinema, Haneke delivers strong social messages, diving that much deeper into the issue of immigration for the first time. Although set in a new geographical context, Haneke focuses on issues that disturb him, based on both his direct observations and the experiences of the people he encounters. Despite some similarities, unlike "71 Fragments of a Chronology of Chance", this film contains several missing pieces, requiring viewers to actively engage in understanding and internalizing the story. Scenes are abruptly cut and shifted to others, with underlying themes more subtly presented compared to his previous films, which may be more challenging for some viewers.

Haneke’s first film in the 21st century, The Piano Teacher (La Pianiste) (2001) is a psychological drama centers on Erika Kohut, a piano teacher living in Vienna with her oppressive mother. Erika, emotionally and sexually repressed, enters a complex and destructive relationship with her young and talented student, Walter Klemmer. This relationship, which allows her to release suppressed desires, reveals some extreme tendencies and deep psychological issues. Thus, as Walter uncovers Erika's dark desires, their relationship becomes increasingly disturbing and dangerous. The film's atmosphere is incredibly unsettling, with toxic relationships playing a central role. Erika is not young, having stayed at home, and her mother is also old. She even brings the younger Walter home despite her mother's presence, and her sadomasochistic inclinations make their relationship extraordinarily chaotic as well. The film masterfully portrays the transformation of the aforementioned repressed sexuality into a wounding neurosis, with Erika representing the middle class.

This film marks Isabelle Huppert's entry into the Haneke universe, delivering an exceptional performance that explores the fundamental issue of problematic parental relationships. I believe Huppert's performance in this film is the best in all of Haneke's works, leading to her appearance in three more of his films and earning her the Best Actress award at the Cannes Film Festival (with co-star Benoît Magimel winning Best Actor). The film also earned Haneke a Palme d’Or nomination and won the Grand Prix, the second-most prestigious prize at the Cannes Film Festival. Additionally,  Haneke's profound interest in music is evident, considering it the art form closest to cinema and the element nearest to heaven. The presence of classical music, especially Schubert, in the film underscores this passion. Thus, the film's setting in the world of music adds an aesthetic dimension to its narrative.

Haneke’s most unusual film, Time of the Wolf (Le Temps du Loup) (2003) tells the story of a family struggling to survive in a post-apocalyptic environment. Anne, Georges, and their children flee the city in search of safety but are confronted by intruders in their summer home, forcing them out. This incident intensifies their survival struggle. The film starkly portrays the darker aspects of human nature and how moral values deteriorate during crises. The narrative unfolds through the challenges the family faces and their interactions with other survivors.

Isabelle Huppert stars in another lead role, delivering a commendable performance. However, compared to Haneke's overall filmography, this might be considered one of his weaker films. The dystopian world he creates is incredibly realistic, but the story and its execution, aiming to convey an evident subtextual message, might not be entirely convincing to viewers. Despite this, the film is worth watching for its atmosphere anyway. Although not successful at the box office, the film's distinctive feature lies in its focus on behavior, setting it apart from typical sci-fi/disaster films. Haneke aimed to depict events as banal as possible, ensuring viewers could relate and not dismiss the events as improbable.

Caché, also known as "Hidden," is a 2005 thriller centered around the life of Georges Laurent, a television host in Paris, and his wife, Anne. One day, the Laurent family starts receiving anonymous video tapes recording the exterior of their home and their daily lives. These tapes reveal dark secrets from Georges' past, plunging the family into increasing fear and paranoia. As they attempt to uncover the source and purpose of the videos, Georges' childhood memories and his relationship with an old friend resurface. The film explores hidden guilt (as well as the efforts to suppress it) and the evolving impact of collective memory over the years. 

This is my favorite Haneke film, both for the gripping and mysterious treatment of the main storyline and for how it deftly shifts the focus to the underlying themes of class struggle without disrupting the narrative flow. The casting of the lead couple is superb, with extraordinary performances by Daniel Auteuil (Georges Laurent) and Juliette Binoche (Anne Laurent). The film powerfully addresses issues of immigration and Europe's exploitation of Africa, highlighting both the guilt felt by some Europeans and the indifferent consciences of others. In terms of the accolades, the movie garnered numerous awards at the Cannes Film Festival, including Best Director, solidifying its status as a critical masterpiece. Two scenes from the movie also became extremely well-known, the chicken scene which stems from Haneke’s childhood trauma and the shocking suicide scene that is designed to jolt the audience, both can currently be counted among the symbols of the director’s art. 

The following one, Funny Games (US) (2007) is the shot-for-shot remake of Haneke's 1997 film, created for the American audience. Starring Tim Roth and Naomi Watts as middle-class parents, the film closely mirrors the original. Despite its high-profile cast, the remake did not achieve significant success in the market. Given the success, uniqueness, and artistic beauty of the original, discussing the US adaptation here does not seem very necessary in my opinion.

In 2009, Haneke made The White Ribbon (Das weiße Band), a 2009 film, set in a small Protestant village in Germany during 1913-1914, just before World War I. The story revolves around a series of mysterious and violent events that disturb the village's strict social structure and moral values. The village children become involved in a string of brutal and unexplained crimes, shaking the foundations of their community. The narrative is told from the perspective of the village schoolteacher and examines the influence of authority figures like the pastor, doctor, and baron (mostly) on the children.

While many interpret the film as a critique of the origins of fascism or Nazism, the director himself stated during the Cannes Film Festival: "I wanted to show that any ideal is corrupted as soon as you take it to the absolute extreme." The film transcends national or ideological boundaries, illustrating how oppression breeds authoritarianism. Although set in a historical context, the film includes sequences inspired by the director's personal experiences, focusing not on creating a historical film but on highlighting the individual and cumulative societal impacts of these themes over time (until today). The film's narrative style and art direction achieve this flawlessly. "The White Ribbon" also features a notable milestone for a Haneke film as it led to his first Palme d'Or win and garnered his first Academy Awards nomination for Best International Feature Film.

Amour (2012), perhaps his most renowned film, is a poignant drama that tells the touching story of Georges and Anne, an elderly couple living in Paris. Both retired music teachers, they lead their lives with a deep love for each other and for music. However, their lives are irrevocably changed when Anne suffers a stroke. As her condition deteriorates, Georges cares for her with immense patience and love. Throughout this ordeal, Georges faces significant physical and emotional challenges but remains steadfast in his devotion to his wife. In essence, their once livable lives end in suffering which embodies one of Haneke’s greatest fears.

"Amour" is one of the most starkly realistic films about love, aging, and death. The performances by Jean-Louis Trintignant and Emmanuelle Riva (supported by Isabelle Huppert) are monumental, making it difficult to single out which actor—or character—deserves more praise. Haneke manages to depict an intense love story without any conventional romanticism, causing viewers to feel the depth of emotion so profoundly that it can be dizzying. This ability to evoke discomfort without overtly disturbing elements is a hallmark of Haneke’s work. The film, drawing from Haneke's observations of bitter experiences similar to those portrayed, starts from a deeply personal place. The characters' snobbishness is well portrayed in specific scenes, yet they are also open to communication when necessary, striking a delicate balance.

The movie stands as Haneke’s most recognized work, winning the Palme d’Or at the Cannes Film Festival and the Academy Award for Best International Feature Film. The legendary actors, Trintignant and Riva, deliver performances that serve as a glorious highlight in their illustrious, albeit nearing-end, careers.

After “Amour”, Haneke made Happy End (2017), a film that delves into the lives and conflicts of the wealthy Laurent family living in Calais, France. Georges Laurent, the elderly patriarch, is depressed due to dementia and old age and is highly inclined towards suicide. His daughter, Anne Laurent, manages the family business while dealing with her irresponsible and rebellious son, Pierre. Anne's brother, Thomas Laurent, grapples with past mistakes and a new relationship while taking responsibility for his young daughter, Eve. Eve moves in with her father's family due to her mother's severe health issues, which brings hidden conflicts and secrets within the family to the surface at some level.

This film features Haneke's most all-star cast and serves as a continuation of "Amour," so it's beneficial to consider the intersecting characters from the previous film. "Happy End" is intriguing, portraying a wealthy yet incredibly depressed, deceitful, and hypocritical family. The film borders on dark comedy, addressing class differences and harshly criticizing society through everyday events. It also marks Haneke’s first film to include Generation Z to those who are subjected to criticism, but especially, the ending is particularly striking, reinforcing the theme of emotional glaciation as powerfully as in his "Glaciation Trilogy." Relevant to that apathy seen so many times throughout the movie, one symbolic and significant scene involves the two wealthy siblings, separately and unknowingly, warning their Moroccan maid's family that if they’re not careful, the family dog that bit the maid’s daughter could bite them too. They deliver these warnings right after spending only a few seconds with the girl and also almost near her.

While "Happy End" is a strong sequel, it feels as if Haneke has grown weary of humanity, tired of warning and displaying its flaws, and this sentiment is palpable in the film. Despite its important messages, the story and emotional depth might feel somewhat lacking. The film’s title, of course, is deeply ironic, highlighting the disparity between the characters' outward affluence and their inner turmoil.