Michael Haneke is very clearly a talented and intelligent filmmaker--and if the first two movies I've seen by him are any indication, I don't think I like his movies very much. That, of course, does not mean that they are bad by any definition, but it does show that his movies are not necessarily for everyone. I for one believe that a filmmaker capable of making an audience uncomfortable while keeping their attention is a gifted filmmaker indeed, and Haneke does that well with me. So, without further ado: Code: Unknown is an ensemble film of characters lives that intermingle and run across each other in Paris. Unlike such films as 21 Grams, Crash, et al, however, Code: Unknown is more of a statement on character's lack of identity than their interdigitated roles surrounding a social setting. Here, one can hardly call what is on screen as "social", even while relationships unravel, parties are held, and films-within-the-film are made. If you want to see the most utterly alone characters in all of cinema, look here.
The other movie by Haneke I've seen is The Seventh Continent, and these two movies are made in basically the exact same structure: immense long takes with black leader in between to separate them. The only exception to that rule is when Juliette Binoche's character is acting in a movie, at which point cuts occur, signifying that movies are ultimately fake.
Therein is probably one of the most difficult things about Haneke as a filmmaker: he strong-arms rather than invites. Long takes are typically used to make the audience to sit and look at the image on the screen for longer than they are normally accustomed to, but with Haneke I feel like he's taking that concept to the extreme (probably purposefully, which is why I don't criticize him for it) and basically forcing you into a specific perspective, which he will not change. If Bazin is right and there's a world outside of the frame, Haneke locks you away from it. And the only window he lets you have is to the world's darkest, most impersonal facets.
There's quite a long tradition of this in cinema, however. John Cassavetes is probably the most famous filmmaker operating in this mode, as he was known to purposefully cut out all the parts of his films that other people found enjoyable. Haneke certainly has something to say and certainly knows exactly how to say it. Just be forewarned that this movie is not meant to be enjoyable.
Otherwise, I really like his exploration of miscommunication and the ways in which the characters set themselves up to never be able to express themselves truly. If the movie weren't so insistent in tone, perhaps the emotional drive behind it would have more reverberation in my own viewing of the movie, but instead the disciplinary shooting causes me to be intellectually resistant to his particular world-view.
--PolarisDiB
The other movie by Haneke I've seen is The Seventh Continent, and these two movies are made in basically the exact same structure: immense long takes with black leader in between to separate them. The only exception to that rule is when Juliette Binoche's character is acting in a movie, at which point cuts occur, signifying that movies are ultimately fake.
Therein is probably one of the most difficult things about Haneke as a filmmaker: he strong-arms rather than invites. Long takes are typically used to make the audience to sit and look at the image on the screen for longer than they are normally accustomed to, but with Haneke I feel like he's taking that concept to the extreme (probably purposefully, which is why I don't criticize him for it) and basically forcing you into a specific perspective, which he will not change. If Bazin is right and there's a world outside of the frame, Haneke locks you away from it. And the only window he lets you have is to the world's darkest, most impersonal facets.
There's quite a long tradition of this in cinema, however. John Cassavetes is probably the most famous filmmaker operating in this mode, as he was known to purposefully cut out all the parts of his films that other people found enjoyable. Haneke certainly has something to say and certainly knows exactly how to say it. Just be forewarned that this movie is not meant to be enjoyable.
Otherwise, I really like his exploration of miscommunication and the ways in which the characters set themselves up to never be able to express themselves truly. If the movie weren't so insistent in tone, perhaps the emotional drive behind it would have more reverberation in my own viewing of the movie, but instead the disciplinary shooting causes me to be intellectually resistant to his particular world-view.
--PolarisDiB