Haneke

Import/Export is a bizarre, horrifying, challenging work, often brilliant and spectacular, often troubling and indeed objectionable. It is an example of Seidl's characteristic form of grotesque realism - part Diane Arbus, part Samuel Beckett. His film addresses the human costs and human pain that globalization brings to its migrant workforce, but on this account the conventional liberal-humanist values of compassion, though detectable, are clearly secondary to something far darker: a cinema of cruelty like something by Artaud or De Sade. There is a fierce, almost gleeful delight in contriving the most painful spectacle possible, and a laboratory coldness in the way Seidl and American cinematographer Ed Lachman film these grotesque figures in the unsettling white-walled spaces that Seidl finds everywhere, positioning them in symmetrical, rectilinear tableaux, coldly and unforgivingly lit.

This film - not just a narrator Zizek, is not even just a legend and screening of moves Zizek, familiar from his books. This is more - kinofilosofiya in pure philosophy, finally spoke the same language of cinema. Of course, before that there were attempts to bring philosophy and cinema, but they pushed it into one, then another. I am confident that this film - just the third, Zizek is presented here not merely as the author of the concept, but rather as a voice-image, becoming flush with kinoobrazami and enters into dialogue with them. The film is divided into three parts. The first works with the procedures of structuring reality, especially through the Trinity "It - I - Super-I", the second reveals the theme of fantasy and sexuality, and the third considers the problem of reality and illusion. The film refers to / understand films of Hitchcock, F. Lang, Chaplin, D. Lynch, Tarkovsky, S. Kubrick, D. Fincher, M. Haneke, I. Bergman, L. von Trier, S. Eisenstein and others.

Director: Michael Haneke
Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.

Cutting Moments is one of those rare films that lives up to its hype. Its bleak, depressing atmosphere makes it comparable to Michael Haneke's Benny's Video or Seventh Contenent, but with Tom Savini gore.

Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

De toutes les actrices contemporaines, Isabelle Huppert est celle qui fait preuve de la plus grande audace dans ses choix et n'hésite pas à aller là où les autres ne vont pas. Sa force de caractère l'oriente toujours vers les pentes les plus risquées. Au travers de reportages tournés au cours de répétition au théâtre à Marseille, de représentation à Paris ou sur le tournage du long-métrage «Un barrage contre le Pacifique» de Rithy Panh, mais aussi d'images d'archives et d'extraits de films de Michael Haneke, de Claude Chabrol ou de Maurice Pialat, portrait de cette actrice qui ne dévoile jamais tout et garde une part de mystère inaccessible.