71 fragments d'une chronologie du hasard

A fine movie that explores the lives of many strangers in Austria that are connected by the same thing: all their lives are pointless and meaningless. Though the pace is slow all the scenes work to the conclusion that is the only solution to break the deadlock. A thought-provoking film.

I must say that I really enjoyed this movie. The subtle exploration of the character in very personal en realistic scenes were executed in the perfect cinematic way (framing, staging, blocking, pacing, editing). The way Haneke used (the lack of) cohesive plot really caught my attention and made me excited about how the story was going to unfold. Though the end was a bit unsatisfying for me. I wasn't drawn enough to the characters to experience a emotional climax through any strong perspective from a character arc. I understanded the thematic exploration but found the climax a bit underwhelming. I'll defintely rewatch to get a hold of more missed details which might immerse me more than my first viewing.

This film is the last in Michael Haneke's trilogy about alienation called "Vergletscherung die Gefühle", and it ends in a violent climax which is a result of the previous fragments that Haneke presents to us. In this film Haneke developed a style that is very reminiscient of his 2000 film "Code Inconnu". It features rather short episodes, and within each episode there is scarcely editing or camera movement. Each episode is divided by a second's black screen, and Haneke often interrupts and ends the episode in the middle of a person's sentence. This is a very economical style of filmmaking, and it certainly demands a lot of the viewers, because you only get the information you really need to connect this episode thematically to the others. Because this is a thematic film, and it is a brilliant, stylish, ice-cold half-misanthropic study of people's lack of ability to perform tender acts with each other. I have never seen people make love in a film by Haneke, except for the masochistic and sad attempts in "La Pianiste". Rather, Haneke shows his characters in situations where they are tired, fed up, irritated or full of hate; quite ordinary human emotions. You cannot blame Haneke for not being a positive director, for he is the only filmmaker working today who can portray and observe his characters so coldly and so unpassionately. And his project seems to be to expose our lack of love and passion for each other, but most of all our lack of ability to tell it as it is. Speak to each other and solve everything, seems to be Haneke's advice, without him really giving it. I never seem to like Haneke's characters, and that is a good thing really. Like fellow German-speaking directors Herzog and Fassbinder, Haneke seems a bit misanthropic in his characteristics. Too many directors try too hard to give characters sympathetic traits, and you just lose interest in the story. "71 Fragmente einer Chronologie des Zufalls" is quite an achievement in filmmaking, and it is a film that will stick with me forever. I will never forget because I never knew why (the incident at the end). That is how I will remember this film, and how many times in real life is "why" the only question never answered?

A Sample film in 90's about violence and how it improves. Pazzle-like narration with 71 episodes, shows us a story about the history of violence. "71 Fragmente einer Chronologie des Zufalls" has all the signs of a film which could be made in 90's. Haneke is one of the contemporary filmmaker who use the violence scenes to show us how this huge question (why violence?) has no straight answer. 71... is almost look like another haneke's famous film (Code unknown,2000) which both of them are narrating unfinished stories of some journeys. Unexpected final scenes and also, unexpected shocking shots are two icons in this film like another Haneke's films. Haneke's style is like the way Robert bresson made films. Bresson's cinematograph and also Hitchcock's suspense are affected in his cinema. His cinema invites us to watch untold stories about complicated questions of contemporary world.

As a massive Haneke fan, 71 Fragments and Time of the Wolf were the only films of his I had left to see. I ticked 71 Fragments off last night and was left feeling slightly underwhelmed. It isn't a bad film or anything, it's just very pedestrian for Michael. It lacks the emotional power of The Seventh Continent, the shock of Benny's Video and the technical skill of Code Unknown, yet it resembles all three. If those three films had a hideously depressing threesome, then 71 Fragments would probably be its mediocre child.

Thankfully it's not as horrifyingly boring as The Castle or the second half of Benny's Video, even though the plot description sounds like it could be. It follows about four unrelated characters going about their everyday business. There's a ping ponging student, a stowaway boy, a depressed couple and a lonely Granddad. Haneke gives us very brief snapshots of their lives which is reminiscent of Code Unknown and Happy End, although not as focused or engaging. I didn't find any of it boring, just a little bit repetitive. The ending also isn't as shocking as it would like to think it is.

So in the end, it's a well-made little film which some interesting themes and the odd great scene, however it's not worth going out of your way to find. To my mind, Haneke's greatest films are: Amour, The Piano Teacher and Hidden.