The Criterion Collection has always put acclaimed filmmakers first. so let's talk about Mai Zetterling and Michael Haneke first. In December 2022, Criterion will be releasing three films from each filmmaker. Michael Haneke: Trilogy collects the first three he directed: The Seventh Continent, Benny's Video, and 71 Fragments of a Chronology of Chance. Criterion calls it "a trilogy depicting a coldly bureaucratic society in which genuine human relationships have been supplanted by a deep-seated collective malaise," which probably won't surprise you if you're a fan of the Austrian auteur. Three Films By Mai Zetterling gathers "three provocative, taboo-shattering works from the 1960s featuring some of Swedish cinema's most iconic stars," per Criterion. "With...
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- 9/15/2022
- Screen Anarchy
There’s an abandoned bunker in John’s backyard. Most kids would probably see it as a place to play, the basis for a hideout or secret fort. Some might climb in and get trapped, and then we’d hear all about it on the news. Not John. John goes through life in kind of a daze, a skinny kid with slack shoulders and a blank, expressionless stare. John sometimes gets funny ideas. Not long after discovering the bunker, he drugs his family with his mom’s meds, drags them out to the bunker and lowers them in.
That is the story of “John and the Hole,” an unconventional thriller from Spanish-born, New York-based visual artist Pascual Sisto that would have drawn comparisons to Michael Haneke and Yorgos Lanthimos had it premiered at the Cannes Film Festival last year. Sisto’s noteworthy debut was selected to screen on the Croisette,...
That is the story of “John and the Hole,” an unconventional thriller from Spanish-born, New York-based visual artist Pascual Sisto that would have drawn comparisons to Michael Haneke and Yorgos Lanthimos had it premiered at the Cannes Film Festival last year. Sisto’s noteworthy debut was selected to screen on the Croisette,...
- 1/30/2021
- by Peter Debruge
- Variety Film + TV
David Michôd's "The Rover," which premiered at last month's Cannes Film Festival and opens this Friday, has been earning a fair amount of praise, mirroring what happened when his 2010 debut "Animal Kingdom" made a splash at the Sundance Film Festival. Like a beloved new band's sophomore album, a director's sophomore feature is often a crap shoot. A good second film can solidify a director's name on the radar, but a bad one can leave a terrible mark. Here's our list of nine of the best sophomore features that came from already promising directors and three that didn't live up to a director's original vision. Have more thoughts? Leave your recommendations in the comments. Read More: Why David Michôd Took Four Years to Follow Up 'Animal Kingdom' With 'The Rover' Starring Robert Pattinson "Benny's Video" Dir. Michael Haneke (1992) Michael Haneke's sophomore effort and second entry into his Glaciation Trilogy,...
- 6/11/2014
- by Indiewire
- Indiewire
Quentin Tarantino, during his Cannes Film Festival press conference (watch it here), mentioned an email chain he was a part of where he and some friends discussed what they believed to be the ten most exciting directors working today. Among those listed he said only David Fincher and Richard Linklater where in everyone's top ten, he wasn't sure why Pedro Almodovar wasn't on everyone's list and he also qualified what he believed it meant for a director to be the "most exciting". Here's how he put it: "I think what that means is, you feel that their best work is still in front of them. That's what makes a filmmaker exciting, that's what makes you anticipate a new movie coming out. Because the new movie could be their best one. From this day on that will be the new barometer from which they're judged. We could be wrong, and their...
- 5/28/2014
- by Brad Brevet
- Rope of Silicon
Riding up on the elevator at the Hilton Fashion District Hotel, I overheard a man with a French accent speak about journalists and their tendency to impose opinions and then search for confirmation from a director. Upon reaching the 22nd floor, we both exited and I introduced myself to Yves Montmayeur and thanked him for the warning. After this slightly Hanekian start, we had a conversation about Picasso, Buñuel and David Lynch's nightmares and, of course, cats.
Montmayeur's penetrating documentary about Michael Haneke's career starts with the word "coward" spoken in his 1992 film Benny's Video and features interviews with Emmanuelle Riva, Isabelle Huppert, Juliette Binoche, Jean-Louis Trintignant, Béatrice Dalle, and Josef Bierbichler.
Anne-Katrin Titze: Jean-Louis Trintignant at one point in your film says, "we don't have fun", Haneke has the fun. Did you have fun making this film?
Yves Montmayeur: Yes! As you can see,...
Montmayeur's penetrating documentary about Michael Haneke's career starts with the word "coward" spoken in his 1992 film Benny's Video and features interviews with Emmanuelle Riva, Isabelle Huppert, Juliette Binoche, Jean-Louis Trintignant, Béatrice Dalle, and Josef Bierbichler.
Anne-Katrin Titze: Jean-Louis Trintignant at one point in your film says, "we don't have fun", Haneke has the fun. Did you have fun making this film?
Yves Montmayeur: Yes! As you can see,...
- 4/26/2013
- by Anne-Katrin Titze
- eyeforfilm.co.uk
What Richard Did; The Hobbit: An Unexpected Journey; Mission to Lars; TinkerBell and the Secret of the Wings
The Irish director Lenny Abrahamson really is a remarkable film-maker. His debut feature, Adam & Paul, updated the existential black comedy of Beckett's Waiting for Godot, with two addicts scraping their way through the underbelly of Dublin to grimly comic effect. Garage built upon the acting promise of its predecessor as Abrahamson drew exceptional performances from an ensemble cast including Pat Shortt and Anne-Marie Duff. Both films are eclipsed, however, by What Richard Did (2012, Artificial Eye, 15), a tale of youth, privilege, denial and tragedy that confirms Abrahamson as both a major cinematic talent and a distinctive directorial voice.
Adapted by screenwriter Malcolm Campbell from Kevin Power's book Bad Day in Blackrock (which drew inspiration from real-life events still fresh in the minds of many), this deceptively low-key drama centres on Richard Karlsen (Jack Reynor), a handsome,...
The Irish director Lenny Abrahamson really is a remarkable film-maker. His debut feature, Adam & Paul, updated the existential black comedy of Beckett's Waiting for Godot, with two addicts scraping their way through the underbelly of Dublin to grimly comic effect. Garage built upon the acting promise of its predecessor as Abrahamson drew exceptional performances from an ensemble cast including Pat Shortt and Anne-Marie Duff. Both films are eclipsed, however, by What Richard Did (2012, Artificial Eye, 15), a tale of youth, privilege, denial and tragedy that confirms Abrahamson as both a major cinematic talent and a distinctive directorial voice.
Adapted by screenwriter Malcolm Campbell from Kevin Power's book Bad Day in Blackrock (which drew inspiration from real-life events still fresh in the minds of many), this deceptively low-key drama centres on Richard Karlsen (Jack Reynor), a handsome,...
- 4/6/2013
- by Mark Kermode
- The Guardian - Film News
The man behind Michael Haneke's fake Twitter account revealed at last, plus news of two exciting film seasons
'Haneke' is hidden no more
His tweets fooled Hollywood and stars such as Salman Rushdie, Debra Messing, Russell Crowe and Ben Affleck. But he's also been acclaimed as "the best thing on Twitter" amid the carefully choreographed publicity of studio Oscar campaigns. And today, Trash can solve the mystery puzzling the film world: who is the genius behind the fake Michael Haneke Twitter account? The author of the funniest film gags of the awards season is 28-year-old Londoner Benjamin Lee, a journalist and deputy editor of the highly successful ShortList.com. The director of Amour and The White Ribbon has a reputation for austere seriousness but recently, through Lee's hilarious proxy tweets, he has become more famous for his love of KFC, his cat and the fruity chews Skittles.
"It was...
'Haneke' is hidden no more
His tweets fooled Hollywood and stars such as Salman Rushdie, Debra Messing, Russell Crowe and Ben Affleck. But he's also been acclaimed as "the best thing on Twitter" amid the carefully choreographed publicity of studio Oscar campaigns. And today, Trash can solve the mystery puzzling the film world: who is the genius behind the fake Michael Haneke Twitter account? The author of the funniest film gags of the awards season is 28-year-old Londoner Benjamin Lee, a journalist and deputy editor of the highly successful ShortList.com. The director of Amour and The White Ribbon has a reputation for austere seriousness but recently, through Lee's hilarious proxy tweets, he has become more famous for his love of KFC, his cat and the fruity chews Skittles.
"It was...
- 3/10/2013
- by Jason Solomons
- The Guardian - Film News
Michael Haneke's Palme d'Or-winning film Amour will strike some as brutal, as its elderly characters grapple with the indignities of ageing. The director proves a challenging subject to interview as he evades and obstructs – much like his films
Michael Haneke likes to say that his films are easier to make than to watch. Cast and crew have fun, but he expects his audience to be disturbed, affronted, even sickened. "On the set I make jokes," he said when we met in Paris to discuss Amour, which deservedly won him the Palme d'Or at Cannes this year. "I can't get too involved, or it turns into sentimental soup. I try to keep it light."
What he tried to alleviate while making Amour was a grim anatomy of elderly debility and dementia, complete with incontinence, forced feeding and the eventual stench of putrefaction. The film follows the decline of an octogenarian musician,...
Michael Haneke likes to say that his films are easier to make than to watch. Cast and crew have fun, but he expects his audience to be disturbed, affronted, even sickened. "On the set I make jokes," he said when we met in Paris to discuss Amour, which deservedly won him the Palme d'Or at Cannes this year. "I can't get too involved, or it turns into sentimental soup. I try to keep it light."
What he tried to alleviate while making Amour was a grim anatomy of elderly debility and dementia, complete with incontinence, forced feeding and the eventual stench of putrefaction. The film follows the decline of an octogenarian musician,...
- 11/5/2012
- by Peter Conrad
- The Guardian - Film News
I was first introduced to writer/director Paul Solet through another indie genre director, Adam Green, who was serving as producer on Solet’s feature film debut, Grace, which premiered at the prestigious Sundance Film Festival in 2009. However, my first introduction to Solet’s horror sensibilities was through the disturbing (and sometimes hilarious) short film Means to an End he collaborated on with Jake Hamilton.
So when I had the idea of reaching out to independent genre filmmakers for this week’s Indie Horror Month coverage, Solet was a shoo-in. I knew his unique filmmaking vision would spill over into his list of his five favorite independent horror films, and I was right on the money. Check out Solet’s list below, and make sure to check in tomorrow for our final two lists!
1. Deathdream
Anyone looking to make a smart genre film on a budget needs to study what Bob Clark did with Deathdream.
So when I had the idea of reaching out to independent genre filmmakers for this week’s Indie Horror Month coverage, Solet was a shoo-in. I knew his unique filmmaking vision would spill over into his list of his five favorite independent horror films, and I was right on the money. Check out Solet’s list below, and make sure to check in tomorrow for our final two lists!
1. Deathdream
Anyone looking to make a smart genre film on a budget needs to study what Bob Clark did with Deathdream.
- 3/18/2011
- by thehorrorchick
- DreadCentral.com
Michael Haneke is at his disturbing best, the Coens pull off a great black comedy, and a zombie romp provokes both laughs and screams
Michael Haneke has long been known as a master of menace. From the shocking psycho-drama of Benny's Video through the audience-baiting horrors of Funny Games to the creeping unease of Hidden, Haneke has earned himself a matchless reputation as a deadpan agent provocateur. In The White Ribbon (2009, Artificial Eye, 15), the Austrian writer-director distils the negative energy of all his previous work into a sublimely understated exercise in anxiety. Set in pre-first world war northern Germany, this black-and-white Palme d'Or winner posits a series of quietly threatening incidents which revolve around the children of a small village. Echoing Wolf Rilla's Village of the Damned, Haneke depicts a generation who hold the seeds of catastrophe in their young hands – these are, after all, the children who will...
Michael Haneke has long been known as a master of menace. From the shocking psycho-drama of Benny's Video through the audience-baiting horrors of Funny Games to the creeping unease of Hidden, Haneke has earned himself a matchless reputation as a deadpan agent provocateur. In The White Ribbon (2009, Artificial Eye, 15), the Austrian writer-director distils the negative energy of all his previous work into a sublimely understated exercise in anxiety. Set in pre-first world war northern Germany, this black-and-white Palme d'Or winner posits a series of quietly threatening incidents which revolve around the children of a small village. Echoing Wolf Rilla's Village of the Damned, Haneke depicts a generation who hold the seeds of catastrophe in their young hands – these are, after all, the children who will...
- 3/14/2010
- by Mark Kermode
- The Guardian - Film News
Last we heard, Austrian gloom-monger Michael Haneke's follow-up to his mesmerising The White Ribbon was to be Ces Deux; a drama on the "humiliation and physical deterioration of the aged". It was set to shoot in France this summer with Isabelle Huppert and Louis Trintignant.But The Playlist are reporting that Haneke has abandoned the film, after seeing "a Canadian project on a similar subject" (they suggest that it was either Sarah Polley's Away From Her oder Denys Arcand's The Barbarian Invasions) and is now prepping a new screenplay about the internet. It's possible that Huppert and Trintignant will stay on for the ride.No other specific details are yet forthcoming, but given that this is Haneke, the director of the furious Funny Games (both times), Benny's Video and The Piano Teacher, it's safe to assume that an internet project in his hands will not be a...
- 2/16/2010
- EmpireOnline
Michael Haneke is the master filmmaker of the modern world. More than any of his contemporaries, or even his descendants, Haneke has displayed an unparalleled understanding of how films should deal with contemporary technology. As auterist works like Benny's Video, Cache, and Funny Games (both the original and the notorious American remake) prove, Haneke is the poet of video cameras, the philosopher of television, deconstructing technology and that audience's expectations of it with his red blinking light. Which is why it came as something of a shock to learn that his latest project, The White Ribbon (Das weisse Band - Eine deutsche Kindergestchichte) , is set a long time ago, in a land far, far away - so far, in fact, that in this land they don't even have cars, let alone TVs. Set in a German village in 1913 and 1914, The White Ribbon posed a significant challenge to Haneke's ...
- 12/20/2009
- TribecaFilm.com
The first time I saw a Micheal Haneke film I was fourteen. Late at night I stumbled across a story, whose title I had missed, about a somewhat reclusive young boy obsessed with violent images, including his own home made video of a pig being killed on a relatives’ farm. A deconstruction of the media, it's violent draw and the moral reactions of those who rely on it's power unfolds as Benny plots and kills a friend on camera. The coldness of the picture unsettled me and I would remember it's images for years to come, never able to find the film again, or its name. I wouldn't see Benny's Video again until 12 years later, though, when I did, it's power had not diminished. I had remembered the murder and it's lead up, the more obviously off putting aspects of the film, but perhaps the most horrifying part was forgotten about.
- 12/3/2009
- by Neil Innes
- t5m.com
Adored, reviled, emulated and microanalyzed, Michael Haneke is everything an auteur should be. The Munich-born, Viennese-raised filmmaker won his first Palme d'Or with this year's The White Ribbon (opening in the U.S., finally, on Dec. 30). Something of a departure for the man preoccupied with the intersection of technology and senseless violence in movies like Benny's Video, Caché and both sadistic versions of his Funny Games, Ribbon sheds the director's favored, blueish palette for monochromatic black-and-white, and dials the clocks back to 1913, where a series of bizarre mishaps and cruel, gruesome pranks befall a German agrarian town. As the braided narratives draw to a close and the Great War begins, we've borne witness to numerous brutalities and acts of violence. But what surprises are the frequent, deftly staged moments that come in between -- displays of what some might consider sheer sentimentality: a child grappling with the concept of death...
- 12/2/2009
- Movieline
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- 10/26/2009
- by [email protected] (Jed Medina)
- The Movie Fanatic
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- 10/26/2009
- by [email protected] (Jed Medina)
- The Movie Fanatic
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- 10/26/2009
- by [email protected] (Jed Medina)
- The Movie Fanatic
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- 10/26/2009
- by [email protected] (Jed Medina)
- The Movie Fanatic
If you're going to ask me (once again) who I considered to be one of the most controversial filmmakers today, then I would name Michael Haneke (right after Lars von Trier, of course). While von Trier's movies can be overwhelming at times, Haneke's can be very daunting and just like subjecting one self to torture. If von Trier loves to portray America without touching American soil, Haneke loves to teach his viewers a dose of their own medicine - patronizing American escapist movies is like committing a crime, there will be punishment sooner or later.
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- - -
- - - But how to begin? Perhaps a look at The White Ribbon, his latest would be a good way to start. Instead of a chronological set of events, we start from the most recent.
More about The White Ribbon, Haneke's previous movie Funny Games and some insights into the Austrian filmmaker after the jump!
- 10/26/2009
- by [email protected] (Jed Medina)
- The Movie Fanatic
Cinematographer Christian Berger has been Michael Haneke's eye for many of that director's most critically acclaimed and talked about films, beginning with 1992's Benny's Video and continuing through 2001's The Piano Teacher and 2005's Caché. With this year's Palme d'Or-winning The White Ribbon, both men have taken a major aesthetic detour from the paranoid postmodern landscapes that characterized their previous efforts, landing instead in pre-wwi Germany, in an agrarian village full of dark secrets. Shooting in black and white with an assured hand, Berger paints stunning monochromatic landscapes, portraits and still lifes of a society savoring its last moments of innocence. We spoke by phone to Berger yesterday from his home in Austria.
- 10/9/2009
- Movieline
Sony Pictures Classics didn't waste any time hob-nobbin' on la Croisette or catching a 3D showing of Up before buying shelling out some francs for new movies on the opening day of Cannes. Spc snatched up Michael Haneke's latest discomfort-fest The White Ribbon (which is also in competition for the Palme d'Or), as well as the dramatic romance Coco Chanel & Igor Stravinsky. According to IMDb, The White Ribbon's plot is as follows:
"Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism?" Creepy!
The official Cannes site has more information:
"A village in Protestant northern Germany. 1913-1914. On the eve of World War I. The story of the children and teenagers of a choir run by the village schoolteacher, and their families: the baron,...
"Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism?" Creepy!
The official Cannes site has more information:
"A village in Protestant northern Germany. 1913-1914. On the eve of World War I. The story of the children and teenagers of a choir run by the village schoolteacher, and their families: the baron,...
- 5/14/2009
- by Jenni Miller
- Cinematical
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