[go: up one dir, main page]

    कैलेंडर रिलीज़ करेंसबसे बढ़िया 250 फ़िल्मेंसर्वाधिक लोकप्रिय फ़िल्मेंज़ोनर के आधार पर फ़िल्में ब्राउज़ करेंटॉप बॉक्स ऑफ़िसशो का समय और टिकटफ़िल्मों से जुड़ी खबरेंइंडिया मूवी स्पॉटलाइट
    टीवी और स्ट्रीमिंग पर क्या हैसबसे बढ़िया 250 टीवी शोसबसे लोकप्रिय टीवी शोशैली के अनुसार टीवी शो ब्राउज़ करेंटीवी न्यूज़
    देखने के लिए क्या हैनए ट्रेलरIMDb ओरिजिनलIMDb की पसंदIMDb स्पॉटलाइटFamily Entertainment GuideIMDb पॉडकास्ट
    OscarsPride MonthAmerican Black Film FestivalSummer Watch GuideSTARmeter पुरस्कारअवार्ड्स सेंट्रलफ़ेस्टिवल सेंट्रलसभी इवेंट
    जिनका आज जन्म हुआसबसे लोकप्रिय सेलिब्रिटीसेलिब्रिटी से जुड़ी खबरें
    सहायता केंद्रकंट्रीब्यूटर ज़ोनपॉल
उद्योग पेशेवरों के लिए
  • भाषा
  • पूरी तरह से सपोर्टेड
  • English (United States)
    आंशिक रूप से सपोर्टेड
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
वॉचलिस्ट
साइन इन करें
  • पूरी तरह से सपोर्टेड
  • English (United States)
    आंशिक रूप से सपोर्टेड
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
ऐप का इस्तेमाल करें
  • कास्ट और क्रू
  • उपयोगकर्ता समीक्षाएं
  • ट्रिविया
  • अक्सर पूछे जाने वाला सवाल
IMDbPro

Code inconnu: Récit incomplet de divers voyages

  • 2000
  • Not Rated
  • 1 घं 58 मि
IMDb रेटिंग
7.1/10
16 हज़ार
आपकी रेटिंग
Code inconnu: Récit incomplet de divers voyages (2000)
A young man harasses a homeless woman, another man protests, the police arrest both and the woman has to leave the country. What were their various story-lines leading up to this event?
trailer प्ले करें1:51
1 वीडियो
90 फ़ोटो
Drama

एक युवक एक बेघर महिला को परेशान करता है, एक अन्य व्यक्ति उसका विरोध करता है, पुलिस दोनों को गिरफ्तार करती है और उस महिला को देश छोड़ना पड़ता है. उनके विभिन्न कथानक क्या थे, जिसके कारण यह घटन... सभी पढ़ेंएक युवक एक बेघर महिला को परेशान करता है, एक अन्य व्यक्ति उसका विरोध करता है, पुलिस दोनों को गिरफ्तार करती है और उस महिला को देश छोड़ना पड़ता है. उनके विभिन्न कथानक क्या थे, जिसके कारण यह घटना हुई हैं?एक युवक एक बेघर महिला को परेशान करता है, एक अन्य व्यक्ति उसका विरोध करता है, पुलिस दोनों को गिरफ्तार करती है और उस महिला को देश छोड़ना पड़ता है. उनके विभिन्न कथानक क्या थे, जिसके कारण यह घटना हुई हैं?

  • निर्देशक
    • Michael Haneke
  • लेखक
    • Michael Haneke
  • स्टार
    • Juliette Binoche
    • Thierry Neuvic
    • Josef Bierbichler
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.1/10
    16 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Michael Haneke
    • लेखक
      • Michael Haneke
    • स्टार
      • Juliette Binoche
      • Thierry Neuvic
      • Josef Bierbichler
    • 82यूज़र समीक्षाएं
    • 70आलोचक समीक्षाएं
    • 74मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 1 जीत और कुल 3 नामांकन

    वीडियो1

    Trailer [OV]
    Trailer 1:51
    Trailer [OV]

    फ़ोटो90

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 84
    पोस्टर देखें

    टॉप कलाकार60

    बदलाव करें
    Juliette Binoche
    Juliette Binoche
    • Anne Laurent
    Thierry Neuvic
    Thierry Neuvic
    • Georges
    Josef Bierbichler
    Josef Bierbichler
    • The Farmer
    • (as Sepp Bierbichler)
    Alexandre Hamidi
    • Jean
    Maimouna Hélène Diarra
    • Aminate
    • (as Helene Diarra)
    Ona Lu Yenke
    • Amadou
    Djibril Kouyaté
    • The Father
    Luminita Gheorghiu
    Luminita Gheorghiu
    • Maria
    Crenguta Hariton
    • Irina
    • (as Crenguta Hariton Stoica)
    Bob Nicolescu
    • Dragos
    Bruno Todeschini
    Bruno Todeschini
    • Pierre
    Paulus Manker
    Paulus Manker
    • Perrin
    Didier Flamand
    Didier Flamand
    • The Director
    Walid Afkir
    • The Young Arab
    • (as Walide Afkir)
    Maurice Bénichou
    Maurice Bénichou
    • The Old Arab
    Carlo Brandt
    Carlo Brandt
    • Henri
    Philippe Demarle
    • Paul
    Marc Duret
    Marc Duret
    • The Policeman
    • निर्देशक
      • Michael Haneke
    • लेखक
      • Michael Haneke
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं82

    7.115.8K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    फ़ीचर्ड समीक्षाएं

    ThreeSadTigers

    Probably one of the more accessible of Haneke's dour, psychological studies

    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.
    7dbdumonteil

    unknown code = no access to any life

    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...
    jdquinn-1

    don't have the code either

    I tracked this one down after being impressed with Haneke's "Funny Games," and while the two films could not be farther apart in intent, both reveal a competent filmmaker of enigmatic yet fascinating films. It seems in the three years between the two films, Haneke has replaced his antagonistic/didactic antics in favor of a more personal, contemplative study of how simple actions in today's diverse culture can have far-reaching effects. "Code Unknown" is as involving visually as it is cerebrally. Apart from a few montages (comprised of photos taken by one of the film's many peripheral characters), almost every scene is composed in one long, carefully orchestrated shot. Without the distractive tendencies of editing, the viewer is promptly absorbed into each vignette, each of which is loosely related to the others by the film's first scenario. Throughout the film, complex social issues such as xenophobia, vagrancy, and familial strife are explored; however the film's effectiveness lies in its ability to portray the sense of homelessness often described as an inevitability of today's consumerist, globalist culture. Which is not to say that the film succeeds indefinitely in its grand scope. At times, the scenes seem either pointless, or pointlessly drawn out. It occasionally seems Haneke is overreaching in breadth: framing the film with deaf children signing seems somewhat pretentious, but can be forgiven when the rest of the film's minimalist formality is taken into consideration. However, an interesting analysis of the semiotics of "Code Unknown" could probably be thought out (the two meta-films, the deaf kids, the title), but that would require more than one viewing, and more tenacity than I'm sure most viewers are willing to give. Still, quite a visually stunning and at times intense film, slightly marred only by the same quality that makes it worthwhile: its refusal to adhere to accepted filmic logic.
    10donalohanlon

    Conscience and Consequence

    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!
    10garveytv

    Is Michael Haneke God?

    Well, I suppose not - but he IS the most exciting and interesting new filmmaker around. I would say "young filmmaker" - only he's not young; judging from his bio he's around 60. And he's not really "new", either - he's already made five films. But his films FEEL shockingly "new" - the MATERIAL is new; and it's some measure of how glacial the pace of real aesthetic change is in this supposedly-globalized world that he is only now becoming known in the U.S.

    Those of you who have seen his best-known work, "Funny Games", would probably agree with me that it is the most horrifying movie ever made. "Games" coolly subverts the conventions of the horror movie to unremittingly punish the audience for its desire for violence. The effect is unbelievably harrowing.

    Now we have "Code Unknown", which is not nearly as cruel an experience as "Funny Games", but which has the same strict intellectual armature. With as radical a technique as Godard's, Haneke takes a short scuffle in the streets of Paris as the point of departure for a meditation on true knowledge in a world of chance and mischance.

    Haneke breaks the film up into short, disconnected fragments, with black spaces between them. In several no words are spoken, while others turn out to be "inside" films that the "lead" character, an actress played by Juliette Binoche, is making. Many are long, single shots - sometimes gliding along to follow the characters, but sometimes rooted in one spot as the characters drift to and fro. And the "stories", such as they are, wander too, from Paris to what looks like the Balkans, as Haneke follows Binoche, her war photographer boyfriend, his brother and father, a street beggar who is deported from Paris, a young black teacher of the deaf, and a host of other ancillary characters. What they don't understand - but we do - is that the course of their lives has been largely determined by encounters with people they'll never even know.

    These people may think they're drowning in "too much information" - but actually, they don't have ENOUGH information; Haneke's recurring theme is our attempt to interpret a largely-unknown reality - and the problem of our responsibility to act on that interpretation. And despite a handful of longeurs, the effect is mostly completely absorbing. Those who were fascinated by the backwards-moving "Memento" will have a field day with "Code Unknown", where we have to tease out relationships, back story, and whether or not the narrative we're watching is "really" happening at all, with a lot fewer clues than Guy Pierce ever got.

    And THEN - and this is what's interesting - somehow Haneke demands that we "make up our minds" about what we've seen; we feel compelled to judge, and yet we cannot - is the kid we see mistreating a beggar really a bad kid? Is the actress really being sealed up to die in a windowless room? Was the note from "a defenseless child" really written by an abused little girl (she turns up dead, so with a shock we appreciate what's at stake in our pause to consider the issue)? "Code Unknown" offers no answers - but then neither does life. The film ends with a scarily-happy drum-pounding by a chorus of deaf children.

    I suppose what's startling about Haneke is that he has such an assured technique and yet eschews almost all directoral razzle-dazzle. He's not a Darren Aronofsky, ringing a dozen eye-popping changes on an essentially-empty story. And his intense horrors are justified by the depth and purity of his concerns - unlike those of, say, Tarentino or (God help us!) Guy Ritchie. Haneke's smarts are story and conceptual smarts, not adolescent film smarts; he's wildly daring, but he's icily mature. I'd almost say he's the heir to Kubrick's mantle, but these days that might be tarring him with an unwanted brush (as I watched "Code Unknown" I suddenly realized I was glad Pauline Kael was dead - she'd feel driven to sabotage this much intellectual challenge!).

    I had to see "Code Unknown" at the Museum of Fine Arts here in Boston - however, there was a substantial crowd there; word is slowly getting out about Haneke. "Funny Games" is available on video (but be warned!); as far as I know, his latest, "The Pianist" (with Isabelle Huppert - Haneke's career is obviously being helped by interest from European-mainstream actresses) has yet to achieve a U.S. release. Here's hoping we'll see it in the States sometime soon.

    इस तरह के और

    71 Fragmente einer Chronologie des Zufalls
    7.1
    71 Fragmente einer Chronologie des Zufalls
    Le Temps du loup
    6.4
    Le Temps du loup
    Der siebente Kontinent
    7.6
    Der siebente Kontinent
    Benny's Video
    7.1
    Benny's Video
    Caché
    7.3
    Caché
    Happy End
    6.6
    Happy End
    Das weiße Band - Eine deutsche Kindergeschichte
    7.8
    Das weiße Band - Eine deutsche Kindergeschichte
    Das Schloß
    6.5
    Das Schloß
    The Piano Teacher
    7.5
    The Piano Teacher
    Amour
    7.9
    Amour
    Funny Games
    7.5
    Funny Games
    Die Rebellion
    7.2
    Die Rebellion

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Michael Haneke began the project when Juliette Binoche wrote to him expressing an interest in working with him.
    • भाव

      Anne Laurent: Look over by the wall. That's the black kid who harassed Jean. Don't let him see...

      [abrupt cut]

    • कनेक्शन
      Featured in Mein Leben: Michael Haneke (2009)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल19

    • How long is Code Unknown?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 15 नवंबर 2000 (फ़्रांस)
    • कंट्री ऑफ़ ओरिजिन
      • फ़्रांस
      • जर्मनी
      • रोमानिया
    • भाषाएं
      • फ्रेंच
      • रोमानियन
      • मलिंका
      • फ्रेंच सांकेतिक भाषा
      • अंग्रेज़ी
      • बाम्बरा
      • अरेबिक
    • इस रूप में भी जाना जाता है
      • Code Unknown
    • फ़िल्माने की जगहें
      • Mali
    • उत्पादन कंपनियां
      • Arte France Cinéma
      • Bavaria Film
      • Canal+
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • US और कनाडा में सकल
      • $95,242
    • दुनिया भर में सकल
      • $95,242
    IMDbPro पर बॉक्स ऑफ़िस की विस्तार में जानकारी देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 58 मिनट
    • रंग
      • Color
    • ध्वनि मिश्रण
      • Dolby Digital
    • पक्ष अनुपात
      • 1.85 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Code inconnu: Récit incomplet de divers voyages (2000)
    टॉप गैप
    By what name was Code inconnu: Récit incomplet de divers voyages (2000) officially released in India in Hindi?
    जवाब
    • और अंतराल देखें
    • योगदान करने के बारे में और जानें
    पेज में बदलाव करें

    एक्सप्लोर करने के लिए और भी बहुत कुछ

    हाल ही में देखे गए

    कृपया इस फ़ीचर का इस्तेमाल करने के लिए ब्राउज़र कुकीज़ चालू करें. और जानें.
    IMDb ऐप पाएँ
    ज़्यादा एक्सेस के लिए साइन इन करेंज़्यादा एक्सेस के लिए साइन इन करें
    सोशल पर IMDb को फॉलो करें
    IMDb ऐप पाएँ
    Android और iOS के लिए
    IMDb ऐप पाएँ
    • सहायता
    • साइट इंडेक्स
    • IMDbPro
    • Box Office Mojo
    • IMDb डेटा लाइसेंस
    • प्रेस रूम
    • विज्ञापन
    • नौकरियाँ
    • उपयोग की शर्तें
    • गोपनीयता नीति
    • Your Ads Privacy Choices
    IMDb, एक Amazon कंपनी

    © 1990-2025 by IMDb.com, Inc.