• It’s a very strong entry for Haneke’s oeuvre, Binoche’s, and the intersecting or non-linear narrative (pulp fiction, Rashoman, mystery train, Inarritu) sub-genre—the full name of the film is code unknown: Incomplete Tales of Several Journeys
  • Full of Haneke’s trademark dread and pessimism both in the systems and people’s nature—there are heavy racial tensions
  • Half conversations
  • Bressionian in the dogmatic approach—very intellectual approach
  • A story of moral emptiness
  • Cryptic- elliptical editing breaking in and out of these characters who met in the racially charged and superb opening
  • No music, simple black and white credits
  • Opening and closing are deaf kids who can’t figure out what the other is saying
  • Very long-opening shot on the streets of Paris (above)- 9 minutes and it’s marvelous. Intense, filled with social and moral implications—a stunner. The film actually can never reach this level again. The system is a disaster. The black guy is arrested or brought in by the police. The poor begging woman is departed. These are the two victims.
  • Haneke stays in frame for an uncomfortably long time. His intent
  • Vignettes—great short one of Binoche hearing domestic violence next door and another unbelievably intense one on the subway which has an Arab man playing both the attacker and defender of her
  • Haneke loves scenes showing the banality and ineptitude of the affluent
  • The 4 characters at the center of the incident on the street are shown in their own worlds throughout the film- sometimes connecting again for a second
  • Books as mise-en-scene again for Haneke. He’s targeting the intellectuals who can’t figure it out
  • Almost all scenes cut off prematurely in the editing
  • The camera never moves in or out but often side to side
  • It’s way more intellectually focused and subtle (and less visually appealing) but it’s very similar to Inarritu’s 2006 Babel
  • Some scenes are just complete throwaways unfortunately
  • A devastating account of the immigrant experience
  • Haneke brilliantly interjects some fake scenes as Binoche as an actress- this is a statement for him on movies
  • Her scene on the subway is marvelous where she breaks down- great acting
  • Long silent finale of the Paris street or the subway is where Haneke should have stopped- the photographer then the deaf kids with no subtitle is a little weaker
  • Must-See