This week (Friday, November 11, at 18h as usual) we will watch Caché (Hidden) by the Austrian director Michael Haneke.
Associating today’s France with the bleak country during the Algerian War (i.e. early 60’s), Caché is deliberately a “disturbing” film: For it is about how discomforting it gets when you cannot substantiate an injustice against yourself, and accordingly, how such a wrongdoing resists redemption. “[A] successful bourgeois couple is harassed by an unknown perpetrator who delivers surveillance videos of their home to them. By allegorizing the dilemma of postcolonial France through an Oedipal drama of suspicion, betrayal, and deception, Haneke sets the stage for a taut thriller that pivots upon the return of the barely repressed.” (*)
Those of us who’d like to discuss the film afterwards may benefit more if they have this review by Ara Osterweil
at hand. Despite its shortness, it’s a paper which can guide us in forming a proper perspective to tackle with the idiosnycratic use of surveillance in Caché.
Taken from VertigoMagazine.Co.Uk
P.S. The next film in the series will be The Conversation (1974) by Francis Ford Coppola. In one sense it’ll be a different film in our Gaze and Surveillance / Voyeurs and Intruders series, as it highlights the situation of the person spied on.
The series will continue with Das Leben Der Anderen (2006), Blow-Up (1966) and probably Lovely & Amazing (2001) as well. (The order is amenable to change.)
(*) Taken from the Abstract of Ara Osterweil’s review of the film: “Caché”, Film Quarterly Vol. 59, No. 4 (Summer 2006)