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big picture
- Movies about unsolved mysteries often aim for an ending;
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It intentionally makes the viewer feel uneasy. -
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It delves deeply into the effects of voyeurism, uncertainty, hidden guilt, and invasion of privacy. - Director Michael Haneke challenges viewers:
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there are no clear answers to the movie’s mysteries.
What’s the only thing people love more than a good mystery? Twist: it’s an unsolved mystery. Numerous urban legends have been built around unsolved mysteries, entire television shows have been built around exploring this concept, and entire YouTube subspaces have been devoted to known details about unsolved mysteries. We are dedicated to revealing as much as possible. Cinematic storytelling tends to build toward catharsis, and for obvious reasons, movies don’t often explore unresolved mysteries, as they are often climactic. .
Some movies try to explore real-life unsolved mysteries. zodiac or hollywoodland, results are mixed. Fiction movies don’t work because most people who think of a mystery don’t have the courage not to try to solve it.Again, most people don’t Michael HanekeOne of the world’s most provocative filmmakers. He gave us a master class in not giving answers. One of his best films, while taking us into a story that deeply invests us. hidden.
![cash movie poster](https://static1.colliderimages.com/wordpress/wp-content/uploads/2023/03/cache-film-poster.jpg)
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- release date
- February 17, 2006
- cast
- Daniel Auteuil, Juliette Binoche, Maurice Benicheux, Annie Girardot, Bernard Lecoq, Walid Afkir
- runtime
- 117 minutes
- Main genre
- Drama
What is “Caché”?
The Laurent family is the host of a literary criticism television show, Georges (Daniel Auteuil), Housewife Anne (Juliette Binoche) and his 12-year-old son Pierrot (Lester Makedonski). They are a textbook wealthy middle-class French family, living a comfortable and privileged life without any worries. That is, until a box containing videotapes and drawings documenting acts of violence against people shows up on his doorstep. Red blood splattered around the wound. These videos are home video quality recordings of the Laurent family’s daily activities, such as going to their son’s soccer game. The police refuse to cooperate, believing that nothing they are showing poses an actual threat, and the couple try to solve things themselves. This is just the beginning of the dominoes that will become a disturbingly detailed human tragedydespite the film’s mostly cold progression.
The film visually emphasizes its central theme of the power of voyeurism from its opening shot, which unfolds over two and a half minutes of static shots of an apartment complex where life is on hold. As the credits end, this shot is revealed to be one of the videotapes that Georges and Anne found on their doorstep. It’s a trick that’s played many times in this film, where a seemingly mundane establishing shot later turns out to be one of him on the mysterious videotape. Not only does it serve as a bit of a misguided jolt to put us on guard, but it’s also meant to undermine our fundamental trust in the concept of taking images at face value.
Movies are built on the concept of shots, giving us exactly what we need to know at any given time. So constantly changing the context of different shots gives us a sense of disbelief. What’s more, the film’s entire visual palette is reminiscent of a flat-lit digital handheld camera, except for the overly handheld quality. It injects a meta subtext that makes us question the fundamentals of what we see and questions the nature of our engagement with cinema itself.
‘Caché’ shows the power that uncertainty has on us
For the first half of the film, there are no solid suspects except for one. But when one of his tapes reveals the land where Georges grew up as a child, he begins to dream. It is strongly implied that he did not have these dreams until the videotape appeared, indicating the existence of repressed memories that he was trying to forget. These dreams become transfixed on a boy he knows named Majid.An Algerian orphan taken in by Georges’ parents who were murdered in a racist massacre.
His parents were considering adopting Majid, but Georges didn’t want to do that, so they lied about Majid having tuberculosis, causing his parents to send Majid away. But did he really lie? There’s a short sequence that shows a POV shot of someone walking through a dark house, and then we see Majid bleeding from the mouth, a symptom of tuberculosis. Georges is never given any context to this, nor is it ever hinted at as a dream. Also, all other dream sequences are clearly established as one he The question arises whether Georges was really telling the truth. There are no clear answers in this movie, and that’s what makes it so surprising.
This speaks to the most important idea this movie has in mind. It’s about how easily we get upset when we know we’re being watched. In an age where privacy is becoming less and less, we seem to have become more comfortable being seen. But that’s mostly because we’re showing others what we want them to see. But it’s just that parts of your life that you want to keep secret are suddenly thrust right in front of you. One of the many existential nightmares we can face on a daily basis.. Georges was perfectly content with his comfortable life when no one was watching, but all it took was his one suggestion of chaos, and the dominoes in his mind fell quickly. Ta.
In ‘Caché’, the solution is not the point of the movie
Even if we play detective with what we finally learn, there’s only one real suspect leftand even the suspect cannot prove it..Pierrot is clearly at odds with his parents, and at times hints that Anne is having an affair, but nothing connects him to any criminal activity. This leaves Majid’s adult son (Walid Afkir) Georges suspects that he is the culprit, but his son denies it.From a writing perspective, this may seem a bit sloppy, butBut it was all part of Haneke’s plan to destroy the audience’s sense of security and make the film unforgettable.This was a film designed to tackle ideas such ascolonialismsurveillance, and the nature of film as a medium, Haneke felt it would be “irresponsible” to tie everything up for the audience.
But maybe he secretly tied a bow right in front of our faces. The final scene of the film is a wide shot of Pierrot entering school, and in the bottom left corner of the screen you can see Pierrot approaching Majid’s son. Majid’s son is too old to attend that school, and we know that Pierrot has visited his “friends” from time to time, but we have no way of knowing who those friends are. It’s technically impossible for them to be near each other unless they’re simply two young men comforting their fathers’ shared trauma. Or maybe, just maybe, they were colluding? To paraphrase Sherlock Holmes, Even if the impossible is not ruled out, it can still be true.
![Alfred Hitchcock holding a magnifying glass to enlarge his face](https://static1.colliderimages.com/wordpress/wp-content/uploads/2023/09/alfred-hitchcock-presents.jpg)
Alfred Hitchcock’s last film was more of a black comedy than a thriller.
Naturally, this master of suspense had a surprisingly dark sense of humor.
Michael Haneke is above all a cynic deeply obsessed with the ways in which humanity tears itself apart under the guise of social convenience. It became famous from movies such as funny games and piano teacherHe specialized in looking at how even things meant to bring us together (like art and sexuality) can become instruments of our destruction. hidden The film primarily focuses on how guilt over unintentional actions can tear a person apart inside.
At a more galactic brain level, It skewers the audience’s need for a safety blanket and confronts us with the idea that even movies, like life, cannot faithfully accommodate the whims of an audience seeking answers.. Even if it feels like the answer is right in front of you, according to the rules of the movie, you can’t actually solve it. What’s the point of a smoke bomb if the person who fired the shot may not even be present?
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