Code inconnu
Titre original : Code inconnu: Récit incomplet de divers voyages
- 2000
- Tous publics
- 1h 58min
NOTE IMDb
7,1/10
16 k
MA NOTE
Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 victoire et 3 nominations au total
Josef Bierbichler
- The Farmer
- (as Sepp Bierbichler)
Maimouna Hélène Diarra
- Aminate
- (as Helene Diarra)
Crenguta Hariton
- Irina
- (as Crenguta Hariton Stoica)
Walid Afkir
- The Young Arab
- (as Walide Afkir)
Avis à la une
"Code Unknown" is truly an excellent portrayal of the never- ending multi- cultural dilemmas within a "modern" society. It is a topic that we all have to face everyday. It has become part of our lives and for most of us, we have gotten used to it, to accept it as is. I strongly recommend everyone to spend 2 hours to see what we really are going through in our society, and an issue that we think we are solving yet deep down we are ignoring it for all sorts of selfish reasons. The message in this movie has also aroused us that our younger generations are also making the same racial mistakes that we, the so- called "older generation", have all seen and some might have had already experienced not once, but several times. The unique way of editing in this film works perfectly with the story because I was very disturbed by the elongated black outs between scenes; however, the more I felt disturbed, the more I felt as if I was one of the characters, sharing their emotions and their confusions. The timing of the black outs was also a superb and fresh way to reflect a continuation of the situations in the most cleverly subtle alternative. What we see on the silver screen is actually a mirage of our reality. Instead of telling us to our face that we are having problems, it simply shows us what we are doing everyday. It is that simple.
Code Unknown; Incomplete Tales of Several Journeys (2000) is another of director Michael Haneke's deeply austere and emotionally rigid intellectual probes into the human condition; and the various psychological elements that cause problems, not only in our personal lives and relationships, but in a broader, sociological sense as well. At this point it is perhaps worth noting that the film's essay-like subtitle alludes to the style of the film, which involves a number of long, unbroken shot compositions (some longer than ten minutes) that often end abruptly, with no real sense of resolution.
Presented as a series of loosely connected vignettes that focus on the idea of character interaction as opposed to narrative direction, Code Unknown is a difficult film to appreciate, at least at the level that many of us would probably approach it. One of the main focus points here is the idea of perception; how both we as an audience and the characters in the film perceive the action unfolding from the limited point of view that we've been given. Some good examples of this would include the lengthy and suitably tense scene early on in the story; in which a number of unconnected characters all come together through a seemingly mundane event that ends with a scuffle erupting between a white teenager and a young black man, resulting in both men - and the various onlookers - being arrested. Later, midway through a particularly disconcerting scene, a toddler playing on the balcony of a high-rise apartment slips, all the while watched with horror by his terrified parents who are powerless to do anything. Then finally, towards the end of the film, we watch in eager suspense as a young Arab boy harasses Juliette Binoche's character on a Parisian metro. Throughout the film and these sequences in particular we expect something spectacular and thrilling to happen but it never seems to arrive, until, of course, we realise that 'something' is happening.
As with his most recent film, the highly acclaimed Hidden (2005), there are a number of interesting sequences in Code Unknown, which, on basis of description alone, could easily lead one to believe that they are about to watch a tense, Hollywood thriller. The film obviously couldn't be further removed from this ideal, however, with Haneke once again offering us a dour, colourless psychological study, in which characters crash into one another almost at random and cause a ripple effect that disrupts the order of everything that came before. Clearly, Code Unknown is unconcerned with thrilling the audience, at least, not in the typical sense; with the film never allowing the dramatic tension to build to anything beyond the confines of these various character vignettes that are strung together one by one in order to build up the story. This is a film that wants to enlighten with a raw depiction of everyday life; taking the viewer from moments of deadpan humour (albeit, incredibly low-key humour) to scenes that evoke a feeling of almost crippling desperation. Once again, these techniques are used to mislead the audience into thinking that the film is heading in a different, very "non-Haneke-like" direction, before switching track and confounding us all over again. If you give it some time to really get going, then the results can be oddly thrilling, and - in my opinion - probably more enjoyable and satisfying overall than anything else Haneke has directed.
Still, the film does have that sense of screaming polemic that much of the director's previous work has occasionally descended into; with the loose ends and the experiments in cinematic formalism creating a cold and intellectual exercise that will naturally turn many potential viewers away. A real shame too, because regardless of these distancing intellectual experiments, the direction, photography and acting are superb throughout, and - like The 7th Continent (1994) and Funny Games (1997) - help to weave together a beguilingly tense tapestry of guilt, anger, misery and social despair.
Presented as a series of loosely connected vignettes that focus on the idea of character interaction as opposed to narrative direction, Code Unknown is a difficult film to appreciate, at least at the level that many of us would probably approach it. One of the main focus points here is the idea of perception; how both we as an audience and the characters in the film perceive the action unfolding from the limited point of view that we've been given. Some good examples of this would include the lengthy and suitably tense scene early on in the story; in which a number of unconnected characters all come together through a seemingly mundane event that ends with a scuffle erupting between a white teenager and a young black man, resulting in both men - and the various onlookers - being arrested. Later, midway through a particularly disconcerting scene, a toddler playing on the balcony of a high-rise apartment slips, all the while watched with horror by his terrified parents who are powerless to do anything. Then finally, towards the end of the film, we watch in eager suspense as a young Arab boy harasses Juliette Binoche's character on a Parisian metro. Throughout the film and these sequences in particular we expect something spectacular and thrilling to happen but it never seems to arrive, until, of course, we realise that 'something' is happening.
As with his most recent film, the highly acclaimed Hidden (2005), there are a number of interesting sequences in Code Unknown, which, on basis of description alone, could easily lead one to believe that they are about to watch a tense, Hollywood thriller. The film obviously couldn't be further removed from this ideal, however, with Haneke once again offering us a dour, colourless psychological study, in which characters crash into one another almost at random and cause a ripple effect that disrupts the order of everything that came before. Clearly, Code Unknown is unconcerned with thrilling the audience, at least, not in the typical sense; with the film never allowing the dramatic tension to build to anything beyond the confines of these various character vignettes that are strung together one by one in order to build up the story. This is a film that wants to enlighten with a raw depiction of everyday life; taking the viewer from moments of deadpan humour (albeit, incredibly low-key humour) to scenes that evoke a feeling of almost crippling desperation. Once again, these techniques are used to mislead the audience into thinking that the film is heading in a different, very "non-Haneke-like" direction, before switching track and confounding us all over again. If you give it some time to really get going, then the results can be oddly thrilling, and - in my opinion - probably more enjoyable and satisfying overall than anything else Haneke has directed.
Still, the film does have that sense of screaming polemic that much of the director's previous work has occasionally descended into; with the loose ends and the experiments in cinematic formalism creating a cold and intellectual exercise that will naturally turn many potential viewers away. A real shame too, because regardless of these distancing intellectual experiments, the direction, photography and acting are superb throughout, and - like The 7th Continent (1994) and Funny Games (1997) - help to weave together a beguilingly tense tapestry of guilt, anger, misery and social despair.
"Code Inconnu" is an utterly original, even revolutionary piece from the Austrian director who continually refuses to compromise and pander to an audience.
Many of the reviews on this site focus on the coherence of the film and suggest that the film lacks meaning or narrative, or even that the film is a failure because it is not easily comprehended. This is untrue and deeply unfair.
"Code Inconnu" is not an immediate film. Indeed it may take several viewings to really come to grips with the meaning of the film - certainly there is not a single definitive meaning. For many film viewers when the basic linear narrative is remote. Again this adds to the view that the meaning of this obscured film is pointless. However this is more a reflection of the viewer and of audience expectation than of this film.
In a series of free standing vignettes Haneke has fashioned a moral conundrum without an answer. Much like in life itself. But rather than searching for meaning or answers Haneke is daring us to confront the questions themselves. The themes here are obviously about racism and reality, but also conscience and the consequence of our actions. By linking his separate characters initially Haneke points out that we are tenuously linked to people by uncontrollable events. By setting his film in Parisian streets, Hanekes film becomes recognizable of all our lives.
The central performance from Binoche is equally ambiguous, again this adds to the strength of the piece, but also the difficulty inherent in it.
The best way to view this film is as a series of questions which have no easy answer. The code is indeed unknown. By viewing each episode as a single moral conundrum the film takes on a very interesting and worthwhile dimension.
Many of the reviews on this site focus on the coherence of the film and suggest that the film lacks meaning or narrative, or even that the film is a failure because it is not easily comprehended. This is untrue and deeply unfair.
"Code Inconnu" is not an immediate film. Indeed it may take several viewings to really come to grips with the meaning of the film - certainly there is not a single definitive meaning. For many film viewers when the basic linear narrative is remote. Again this adds to the view that the meaning of this obscured film is pointless. However this is more a reflection of the viewer and of audience expectation than of this film.
In a series of free standing vignettes Haneke has fashioned a moral conundrum without an answer. Much like in life itself. But rather than searching for meaning or answers Haneke is daring us to confront the questions themselves. The themes here are obviously about racism and reality, but also conscience and the consequence of our actions. By linking his separate characters initially Haneke points out that we are tenuously linked to people by uncontrollable events. By setting his film in Parisian streets, Hanekes film becomes recognizable of all our lives.
The central performance from Binoche is equally ambiguous, again this adds to the strength of the piece, but also the difficulty inherent in it.
The best way to view this film is as a series of questions which have no easy answer. The code is indeed unknown. By viewing each episode as a single moral conundrum the film takes on a very interesting and worthwhile dimension.
As per my review on Amazon.co.uk
Haneke's masterful look at a modern European city examines
exactly what it is like to 'exist' in western society. The multilayered
story has many protagonists and follows their lives after they are
linked by a single event. Anne (Binoche) is an actress, her
boyfriend Georges is a war photographer, his brother Jean has
run away from home, their father struggles to manage his farm
and keep his emotions supressed. Amidou is a first generation
african imigrant, who teaches deaf children music, his father is a
taxi driver. Maria, from Romania, has been deported from France
for begging but must make the humiliating journey back to provide
for her family.
The film is complex, yet simple. It essentially asks wheather we
can ever really communicate, wheather we are ever aware of the
significance of our actions and most devastatingly wheather we
have a duty to help even if we are not asked for help. Do we have a
responsibility.
Haneke's film is a technical tour-de-force, with perfectly sublime
performances. Binoche has not been better since her days with
Kieslowski. Her performance as the dispossessed actress is raw
and real. The final scenes devastating in their effectiveness and
simplicity.
To answer/comment on other reviews here - The drumming is symbolic - obviously of the beat of a city and of
course of a heartbeat, but also the (interesting) idea of deaf people
giving sound to other people, they are generously giving pleasure
they will not experience. The music is also one of the many
languages of the film.
The use of a fragmented narrative and loose "story" is a way of
showing the fluid nature of all our lives - reality is never neat like a
conventional film scenario.
This is a film that is hard to decipher. It will take numerous
viewings, but is certainly worth it. Do yourself a favour and stick
with it. Supreme!
Haneke's masterful look at a modern European city examines
exactly what it is like to 'exist' in western society. The multilayered
story has many protagonists and follows their lives after they are
linked by a single event. Anne (Binoche) is an actress, her
boyfriend Georges is a war photographer, his brother Jean has
run away from home, their father struggles to manage his farm
and keep his emotions supressed. Amidou is a first generation
african imigrant, who teaches deaf children music, his father is a
taxi driver. Maria, from Romania, has been deported from France
for begging but must make the humiliating journey back to provide
for her family.
The film is complex, yet simple. It essentially asks wheather we
can ever really communicate, wheather we are ever aware of the
significance of our actions and most devastatingly wheather we
have a duty to help even if we are not asked for help. Do we have a
responsibility.
Haneke's film is a technical tour-de-force, with perfectly sublime
performances. Binoche has not been better since her days with
Kieslowski. Her performance as the dispossessed actress is raw
and real. The final scenes devastating in their effectiveness and
simplicity.
To answer/comment on other reviews here - The drumming is symbolic - obviously of the beat of a city and of
course of a heartbeat, but also the (interesting) idea of deaf people
giving sound to other people, they are generously giving pleasure
they will not experience. The music is also one of the many
languages of the film.
The use of a fragmented narrative and loose "story" is a way of
showing the fluid nature of all our lives - reality is never neat like a
conventional film scenario.
This is a film that is hard to decipher. It will take numerous
viewings, but is certainly worth it. Do yourself a favour and stick
with it. Supreme!
Paris, in the year 2000. A thoughtless gesture (a scrap of paper thrown in the hands of a beggar) causes a general altercation. As a matter of fact, the Austrian film-maker Michael Haneke goes from this incident to relate bits of various characters' lives. There's among others, Anne (Juliette Binoche), an actress who travels from movie to movie. Her husband, Georges a war photographer whose photos express pain and suffering from the countries he visited. Jean who fled from his father's farm in the north of France to come to Paris. Amadou who works in an institute for deaf and dumb children and Maria, a Romanian woman who has trouble to make ends meet by begging. Like "71 Bits" (1994), Haneke's movie is a patchwork of sequences shot in real time and interrupted with short black screens to have a break and in the same time to think about the sequence shot we have just seen.
Shortly before the incident when Jean wants to go to Anne's flat, the latter tells him the code of her flat: "if you want to enter my flat, the code of my building is B4718". I'm not sure whether it's the right code but the building could epitomize a metaphor of a man's life. Every man's life is similar to a building kept generally by a code. The title of the film is rather easy to understand. The famous "unknown code" is a blocked access to any character's real life. This code is unknown for the strangers who surround him or her and as a consequence they don't known anything of his or her real life. It's this situation that is represented in Haneke's movie.
On the surface, "Unknown Code" seems more breathable than Haneke's previous works and looks like a "Magnolia" (1999) à la Francaise. Michael Haneke juxtaposes different characters'different lives belonging to different social classes. They have apparently nothing in common except maybe that their own lives are kept by this unknown code for the others. However, they are affected by terrible sorrows which paralyze the Western society without this latter realizes it. In this Haneke's opus, there's neither the uppercut of "Benny's video" (1992), nor the icy violence of "Funny Games" (1997) but through an accurate study of these different journeys, a quiet, impressive of rigor making, the director offers a disillusioned and black vision of this society. So, he remains faithful to his favorite topics: the difficulty of communication (Amadou who tries to explain in a clumsy way his anger in front of Jean's unconsidered gesture). The way in which violence has become a feature of everyday life in a society which has become insensible to it (we can remember perfectly the sequence shot when Anne irons, she can hear shrill cries near her. She hesitates then resumes to iron). The omnipresence of racism and the insurmountable barrier of social classes (the scene in the tube is a grievous example). They are serious topics that are generally way off cinema's regular radar. It takes all Haneke's courage to explore them. Something he has relentlessly done since "the Seventh Continent" (1989). So, "Unknown Code" is a logical extension of Haneke's obsessions. To come back to the characters, they feel either humiliated either difficulties to communicate. When it crosses our minds that we live inside this distressing universe, it sends shivers down our spines. Once again Herr Haneke stirred some of the viewers's deep fears.
So, ultimately, "Unknown Code" isn't as accessible as Haneke's other works by its nonexistent linear narration and the seriousness of its theses but I think that it's a winner in Haneke's work. Of course, to watch a movie that breaks narrative conventions and expresses deeply pessimistic things is not for all tastes and that's partly why there'll never be general agreement about the famous Austrian film-maker but at least this movie brings to the light of day, thorny subjects hidden in the obscurity of cinema. It is a worthy movie far better than Hneke's next opus, "the Pianist" (2001) but that's another story...
Shortly before the incident when Jean wants to go to Anne's flat, the latter tells him the code of her flat: "if you want to enter my flat, the code of my building is B4718". I'm not sure whether it's the right code but the building could epitomize a metaphor of a man's life. Every man's life is similar to a building kept generally by a code. The title of the film is rather easy to understand. The famous "unknown code" is a blocked access to any character's real life. This code is unknown for the strangers who surround him or her and as a consequence they don't known anything of his or her real life. It's this situation that is represented in Haneke's movie.
On the surface, "Unknown Code" seems more breathable than Haneke's previous works and looks like a "Magnolia" (1999) à la Francaise. Michael Haneke juxtaposes different characters'different lives belonging to different social classes. They have apparently nothing in common except maybe that their own lives are kept by this unknown code for the others. However, they are affected by terrible sorrows which paralyze the Western society without this latter realizes it. In this Haneke's opus, there's neither the uppercut of "Benny's video" (1992), nor the icy violence of "Funny Games" (1997) but through an accurate study of these different journeys, a quiet, impressive of rigor making, the director offers a disillusioned and black vision of this society. So, he remains faithful to his favorite topics: the difficulty of communication (Amadou who tries to explain in a clumsy way his anger in front of Jean's unconsidered gesture). The way in which violence has become a feature of everyday life in a society which has become insensible to it (we can remember perfectly the sequence shot when Anne irons, she can hear shrill cries near her. She hesitates then resumes to iron). The omnipresence of racism and the insurmountable barrier of social classes (the scene in the tube is a grievous example). They are serious topics that are generally way off cinema's regular radar. It takes all Haneke's courage to explore them. Something he has relentlessly done since "the Seventh Continent" (1989). So, "Unknown Code" is a logical extension of Haneke's obsessions. To come back to the characters, they feel either humiliated either difficulties to communicate. When it crosses our minds that we live inside this distressing universe, it sends shivers down our spines. Once again Herr Haneke stirred some of the viewers's deep fears.
So, ultimately, "Unknown Code" isn't as accessible as Haneke's other works by its nonexistent linear narration and the seriousness of its theses but I think that it's a winner in Haneke's work. Of course, to watch a movie that breaks narrative conventions and expresses deeply pessimistic things is not for all tastes and that's partly why there'll never be general agreement about the famous Austrian film-maker but at least this movie brings to the light of day, thorny subjects hidden in the obscurity of cinema. It is a worthy movie far better than Hneke's next opus, "the Pianist" (2001) but that's another story...
Le saviez-vous
- AnecdotesMichael Haneke began the project when Juliette Binoche wrote to him expressing an interest in working with him.
- Citations
Anne Laurent: Look over by the wall. That's the black kid who harassed Jean. Don't let him see...
[abrupt cut]
- ConnexionsFeatured in Ma vie: Michael Haneke (2009)
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Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- Projet inconnu
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 95 242 $US
- Montant brut mondial
- 95 242 $US
- Durée1 heure 58 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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By what name was Code inconnu (2000) officially released in India in Hindi?
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