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"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.

"Unknown Code: Incomplete Tales of Several Journeys (Code inconnu: Récit incomplet de divers voyages)" is a fascinating exploration of communication, using all the elements of film to create a trompe l'oeil of sight, sound and character interactions.

We see extended vignettes of people tangentially related through an accidental intersection in Paris. In a brief interview on the Sundance Channel, where I viewed the film, writer/director Michael Haneke said he specifically selected Paris because it is one of the few European cities whose multiculturalism is so visible. We see here how it attracts immigrants not only as traditionally from the rural countryside, but now from Eastern Europe and Africa.

Though not as violent as the incidents in "Amores perros", released the same year, or the later "Crash," the unsettling confrontation influences the characters' perceptions, of each other and of authority figures. We see them made sensitive to how people look, how people talk to each other, the sounds they make, and, even more importantly, shades how they interact. We see how differently people communicate with their own families, with their friends, their parents, their children, their colleagues, their lovers or their advisers, particularly through simple life cycle events.

Sometimes Michael Haneke toys with us, as the camera moves back and reveals that a poignant situation isn't as dire as we thought, particularly playing on the terrific Juliette Binoche's well-known image as a beautiful actress (and yes, she does look beautiful even standing around in lingerie ironing while watching TV). Or he plays ironic tricks – having deaf kids do emotional charades or perform in a marching drum band or creating ambiguity about a door entry code to reinforce a theme of restless homelessness. We see lovers who communicate passionately without words, in one lovely scene even without touching. (I wonder if this scene with these two inspired a related scene in Rodrigo García's recent "Nine Lives.")

One key character is a self-righteous photojournalist (really stereotypically portrayed by bearded, hunky, disheveled Thierry Neuvic in a multi-pocketed vest with an ever-present camera around his neck) documenting ethnic cleansing in Kosovo or taking candid portraits of unaware subway passengers. But he is helpless at assisting his rebellious teen brother or sullen farmer father or estranged young son. Issues of responsibility to neighbors and passersby is viscerally shown to be not the extreme goal of stopping genocide, but rather providing dignity to a fellow human being or simply listening to what's happening next door and acting on it.

Haneke provides sympathetic insight into the inner lives of African immigrants, with an ear to how happenings look different to Western rationalists than to those used to revelations of divine and interpretive meanings, particularly in dreams, or sense of time.

But while he is very sympathetic to the pushes and pulls of immigration that change people's place in society from matriarch to "the gypsy" as the universal "other" who everyone higher up in society puts down, the family scenes in the Romanian village are more stereotyped, with ethnic wedding dancing.

Haneke's disarmingly passive style, with almost no music or cinematic affectations (he even mocks his Dogme-style use of sound by showing actors in the film-within-a-film re-dubbing dialog lost to a passing airplane) does make us feel like voyeurs, with each vignette constructed in a single take. In the filmed interview he said the key opening scene took 32 takes before he was satisfied.

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...

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!

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.