Storie

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.

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.

This is not a conventional film in the sense that the narrative is not complete. The myriad, unconnected short scenes from the lives of various characters that are presented to us have no beginning and no resolution. We come away having gained an insight into the lives of the various people we have seen, but wanting to know more about all of them. This makes for an incomplete experience, and if that is what you want or need then this is not a film for you. If on the other hand, a glimpse into the lives of people so every day and matter of factly portrayed, in a film so realistically set that suspension of disbelief is never an issue then this is a film for you. I came away, emotionally drained, without having had my emotions manipulated. On reflection (I think)this is a film about how cities dehumanise us, and on how we move together without connecting or communicating.

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.

"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.