![]() ![]() 'Bones and All': How Director David Gordon Green Landed Unexpected Role in Cannibal Romance It is, as Godard might say, not blood, but red. It is the world as fed to us by television, whose style Haneke satirizes by adopting it himself, giving us perfectly balanced compositions, an artificial stillness in the air and a pool of blood on the floor that is no more aberrant than some spilled milk on a countertop. ![]() ![]() And his is a world of superficial sterility, of meticulously organized surfaces stifling human individuality. They are us, the desensitized viewers, the children of divorce, the slaves of consumerism. ![]() His characters are passive voyeurs, separated from real experience by a television screen. Haneke is the cinema’s great contemporary poet of disaffection and, thereby, the filmmaker best equipped to comment on our absurd times. It’s a shocking narrative rupture, but one that seems particularly timely after the events of September 11, during which we found ourselves clambering for the rewind button, endlessly replaying those fateful moments of impact, mouths-agape, wishing we could make it all go away, pondering how much it was “just like a movie.” For Haneke, it’s a typical image in his films, people are always watching. After which the surviving intruder “rewinds” the action, bringing his deceased cohort back to life with an ordinary VCR remote. (indieWIRE/ 12.04.01) - There’s a moment in Michael Haneke‘s 1997 film, “ Funny Games,” when a distraught mother blasts a shotgun shell into one of the two sadistic intruders who have kept her family hostage over a long, torturous evening, and who have just killed her young son. INTERVIEW: Michael Haneke: The Bearded Prophet of "Code Inconnu" and "The Piano Teacher" ![]()
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