Réalisation:
Michael HanekeScénario:
Michael HanekePhotographie:
Christian BergerActeurs·trices:
Daniel Auteuil, Juliette Binoche, Maurice Bénichou, Annie Girardot, Nathalie Richard, Walid Afkir, Bernard Le Coq, Daniel Duval, Aïssa Maïga (plus)VOD (1)
Résumés(1)
Georges, journaliste littéraire, reçoit des vidéos - filmées clandestinement depuis la rue - où on le voit avec sa famille, ainsi que des dessins inquiétants et difficiles à interpréter. Il n'a aucune idée de l'identité de l'expéditeur. Peu à peu, le contenu des cassettes devient plus personnel, ce qui laisse soupçonner que l'expéditeur connaît Georges depuis longtemps. Georges sent qu'une menace pèse sur lui et sur sa famille, mais comme cette menace n'est pas explicite, la police lui refuse son aide... (Les Films du Losange)
(plus)Vidéo (1)
Critiques (7)
Un film totalement original tout au long duquel je me suis demandé quand arriverait le grand dénouement final, réalisant ensuite que ce n’était pas du tout ce qui importait.
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Kubrick est un pur cinéaste, une combinaison unique de moyens d'expression théâtraux et cinématographiques. Le montage froid ( lent et silencieux ) de Haneke (principalement des scènes d'intérieur) ne me touche pas particulièrement, mais le perfectionnisme du réalisateur transpire chaque minute du film et souvent il en coupe le souffle. Et parfois, brutalement, il l'arrête (bien qu'il prévienne à l'avance ce choc par une blague à la table). Un autre film, qui, peu importe si vous l'aimez ou non, ne vous laisse certainement pas indifférent. Jusqu'à présent, le rôle le plus étendu et le mieux joué de Daniel Auteuil parmi ceux que j'ai vus.
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Not for me. I don't think Michael Haneke is my thing. It's all too grounded and mundane for my taste, filmed entirely in an apartment, and the long static shots really pissed me off because I was always afraid that I had paused the film or someone cut it by mistake. It's very slow paced, unfortunately nothing really interesting happens for the whole two hours, no suspense at all, the twist is ambiguous and the vaunted "shocking" scene seemed rather comical to me. Lots of light psychological terror where I struggled not to fall asleep. It even made remember the horror of Anatomy of a Fall, which is similarly grounded and won the same European awards, so let the nerds enjoy it. 4/10.
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I would divide the film's rating exactly in half. The form is traditionally refined by Haneke, and he managed to cast top-notch character actors who give their all. However, the content lags behind because Haneke's traditional style of leaving many things up to the viewer and ending as open-ended as possible turned into complete helplessness, and I wouldn't hesitate to use the word "awkward." The characters' motivations are unsatisfactory and the whole thing leaves me with the impression of "What did the poet actually want to say with this?" Overall impression: 50%.
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Excellent psychological drama, well acted and suspenseful, I hope not only for those who don't need to have everything presented in a semi-pathological way. I wouldn't say it's a challenging film, the plot is told in a clear way, without any confusing moments or dead spots, with one brutally surprising scene that makes your jaw drop. Even the author's comments on the complex racial issues of today's France can be felt in the film (the scene with the black man on his bicycle, the problem of Algerian immigrants). And the surprisingly open ending, with a long take on Majid's son's discussion with Pierrot, invites several interpretations, and while some may feel they have been deprived of something, I can’t complain. That understatement can so sexy sometimes. PS: I shed a nostalgic tear at the several-minute appearance of French film legend Annie Girardot.
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Annonces