Caché

2005
7.3| 1h57m| R| en| More Info
Released: 23 December 2005 Released
Producted By: WDR
Country: Italy
Budget: 0
Revenue: 0
Official Website: http://www.cache-derfilm.at
Info

A married couple is terrorized by a series of videotapes planted on their front porch.

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Director

Michael Haneke

Production Companies

WDR

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Caché Audience Reviews

FeistyUpper If you don't like this, we can't be friends.
ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.
Fairaher The film makes a home in your brain and the only cure is to see it again.
Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;
cinemajesty Film Review: "Caché" (2005)Since "Cannes 2000" with every new and upcoming film in-competition at the so-called "Superior World Cinema Festival" located in South of France, director Michael Haneke, also responsible for another highly-conceptual "what if" original script, convinces as supremely directs star actors Juliette Binoche as faithful wife Anne and Daniel Auteuil as her husband married happily, living quietly under no further conditioning pressures, at a quiet corner of Parisian suburbia, when a videotape arrives, showing a steady-angled shot pointing onto their front door, breaking open the emotional landscape of the couple to the core of existence.Auteur-director Michael Haneke uses every second of his 110-Minute-Final-Cut to build another social "on-screen" experiment to terrorize the spectator with strangle-holding suspense, which eventually leads inevitable into human conflict with no "rights" or "wrongs" given; You, me, the spectator must decide by the end of it where the moral, the ethics of human conduct lies.Supported by sublime scenes of single-to-two-times encounters with character actors Maurice Bénichou and Annie Girardot as Daniel Auteuil's on-screen mother in order to give the audience a break, when the nemesis character lays within the supports, which bound to give answers of "why" the hidden surveillance, but then again the mystery prevails throughout in "Caché"; arousing seldom-felt emotions in a movie house's auditorium as fresh in conception since World-premiering presentation under fellow director's Emir Kusturica, who announced Cannes Jury Président, just favoring at competitive conclusions a much more emotionally-straight as obvious "L'enfant" directed by Jean-Pierre and Luc Dardenne toward a weaken "Palme d'Or" winner in the festival's 58th edition.Copyright 2018 Cinemajesty Entertainments LLC
seymourblack-1 In this often ambiguous movie, one thing that's perfectly clear is a plot reference to the Paris Massacre of 17 October 1961 in which over 200 unarmed Algerians were systematically killed by police officers who drowned many of the peaceful protesters by throwing them into the Seine. Official measures taken to suppress the dissemination of information about what happened were so successful that media coverage at the time was minimal and the death toll has still, decades later, never officially been fully acknowledged. The specific reference to this historical event is what signals the allegorical nature of writer/director Michael Haneke's story in which, like the events of October 1961, so much is hidden.An upper middle-class couple in Paris start to become anxious when they receive a video recording of everything that had taken place outside the front of their home over a period of approximately two hours. Georges Laurent (Daniel Auteuil) who's the host of a popular TV literary programme and his wife Anne (Juliette Binoche) who works for a book publisher, naturally feel uncomfortable about being under surveillance and curious about the video maker's motive. When a second video arrives with a crayon drawing of a face with a great deal of blood emanating from the neck, they feel positively threatened but the police are unwilling to help because no explicit threat as been made. The third and forth videotapes contain sufficient information to make Georges suspect that the harassment he's enduring is linked to an incident in his childhood and so he decides to carry out his own investigation.When Georges was six-years-old, an Algerian couple who worked on his parents' farm were killed in the 1961 Paris massacre and their son Majid (Maurice Benichou), who was a friend, remained on the farm for a period during which Georges' parents considered adopting him. This proposal provoked feelings of insecurity, jealousy and resentment in Georges and he responded by telling his parents a lie about Majid which made them abandon their plans to adopt him and resulted in him being sent to an orphanage. Over the years since, Georges had suffered feelings of guilt about what he did because , as he grew older, he became increasingly aware of just how much he'd damaged Majid's life chances. The nightmares he'd suffered associated with this and the shame that he felt, were matters that he kept secret from everyone including Anne and he now suspected that Majid was taking some form of revenge against him.Using information contained in one of the videos, Georges makes his way to the apartment building where Majid lives and forcefully threatens the passive-looking Algerian who denies sending the videotapes. This doesn't end the matter, however, because soon after, Georges causes Majid further misery by unjustly accusing him of a serious crime before a shockingly violent act eventually ends their relationship forever.Using the format of a mystery thriller, this movie illustrates how the privileged family responded to a perceived threat by compounding past injustices on a weaker, less privileged acquaintance whilst, at the same time, having to endure the associated domestic turmoil that became a regrettable but inevitable consequence of what had taken place. Georges' determination to keep his guilt and shame a secret, did nothing to ameliorate the way he felt about his past and led to discord within his own family as well as, ironically, ensuring that his burden of guilt and shame in the future would be even greater than it was in the past.Daniel Auteuil is magnificent as the haunted protagonist and Juliette Binoche portrays her character's fear, bewilderment and suspicions with great dignity as she tries to understand her husband's secrecy whilst also, at the same time, inevitably losing trust in him. "Cache" (aka "Hidden"), despite its rather subdued pace, is incredibly subtle, gripping and thought provoking as well as quite unconventional in the way that it delivers its message.
cworld14-989-991707 Brilliant.............a film director make an ass of film critics and film goers alike. Cache is a prank on the public but directed specifically forward film critics and their liberal easily taken in followers. Google "art critics fooled by fakes" or "art critics fooled by kindergartners" and read the many hilarious accounts of these supposed "Art" critics making asses of themselves. These are the same people that think blood and feces smeared on a canvas is art. This movie is like a long boring joke with no punch line. Michael Haneke is the Yoko Ono of the film world. No one likes being drawn in to a movie that drags on and on but still holds your attention just enough to make you want to get paid off for your almost two hour investment only to be given a sleeping pill at the end. I say 'end' because the 2nd set of credits roll but there is no ending here. Let some of these reviewers here explain it all to you and you will get dizzy with their moronic explanations about what a great director and movie this is. One critic wrote: ("Brassau paints with powerful strokes, but also with clear determination. His brush strokes twist with furious fastidiousness. Pierre is an artist who performs with the delicacy of a ballet dancer.") That critique was written by a well known supposed art critic whom later found he was critiquing the work of a 31-year-old female chimp. The same ilk rave about this overrated waste of time. How many movies in IMDb have ratings like this one? Either '7' to '10' stars or '1' star ('0' if it was allowable and it should be) I could find no other except guess who? Yes, all of this genius's movies are the same and I for one will make sure he never gets a second of my time with any more of his garbage. There is nothing to compare this movie to (except possibly his other movies, I for one will never know) in an attempt to get across to you what an utterly pretentious waste of time this movie is. One last thing, Michael, you are not a movie director, you are a TV show director. You could have made this entire movie in 20 minutes rather than drag it out for almost two hours, spare your fans next time. I agree with other reviewers that this guy is just plain boring.
Sindre Kaspersen Austrian screenwriter and director Michael Haneke's eight feature film which he wrote, premiered In competition at the 58th Cannes International Film Festival in 2005, was screened in the Masters section at the 30th Toronto International Film Festival in 2005, was shot on locations in France and Austria and is a France-Austria-Germany-Italy co-production which was produced by producers Veit Heiduschka and Margaret Ménégoz. It tells the story about a 46-year-old talk show host named Georges Laurent who lives with his wife named Anne who is a book publisher and their son named Pierrot who is a student, in a house in Paris, France. After having received obscure drawings and videotapes indicating that he and his family is observed, Georges reports it to the police who are prohibited from doing something as nothing has happened and then decides to solve the case on his own. Distinctly and precisely directed by Austrian filmmaker Michael Haneke, this finely paced fictional tale which is narrated from multiple viewpoints though mostly from the main character's point of view, draws an increasingly intriguing portrayal of a French father and husband whom after learning that someone anonymous is trying to tell him something through enigmatic messages begins remembering his relationship as a six-year-old child during the Algerian War of Independence in the early 1960s with an immigrant named Majid whom his parents adopted. While notable for its naturalistic milieu depictions, reverent cinematography by cinematographer Christian Berger, production design by production designer and actor Emmanuel de Chauvigny and production designer Christoph Kanter, efficient film editing by film editors Michael Hudecek and Nadine Muse and use of sound, colors and light, this character-driven and narrative-driven story about a conscious, intentional and life-altering lie which has marred the life of an Algerian father whose son has begun communicating in clandestine ways with the person he regards as responsible for his and his family's sufferings, depicts a perspicaciously internal study of character and contains a timely score by composer Ralph Rieckermann. This ambiguously heartrending, somewhat historic and conversational drama from the mid-2000s which is set mostly in the capital city of France in the 21st century and where a son is with his friends and at swimming practice and his mother starts spending her time with a friend named Pierre whilst her intellectual spouse whom is not willing to recognize his own wrongdoing accuses a childhood acquaintance of seeking vengeance, is impelled and reinforced by its cogent narrative structure, substantial character development, subtle continuity, examination of moral injustice and the understated and involving acting performances by French actor, screenwriter and director Daniel Auteuil, French actress and artist Juliette Binoche and French actor Maurice Bénichou. A densely psychological, quietly reflective and acutely concentrated narrative feature which gained, among numerous other awards, the Prize of the Ecumenical Jury at the 58th Cannes Film Festival in 2005.