Caché (film) - Knowledge

708: 952:. When Majid commits suicide, Haneke connects "the personal and collective conscience", and how neither Georges nor his society has acknowledged the violence of colonialism, according to professor Ipek A. Celik. Scholar Susannah Radstone argues that while critics focused on the film as a statement on the Algerian War in particular, the story is generally about "the trauma of violence perpetuated upon the colonized and the guilt that now ought rightfully to be acknowledged by the colonial power". The French people refusing to accept the full truth of a moment of shame, the Paris massacre, underlines the scene where Georges tells Anne about Majid, according to academic Elsie Walker, with the pauses punctuating Georges's monologue belying the shame. After stating the date, Georges adds "Enough said", indicating the event was better-known by 2005, but also seemingly affirming silence about it; Walker points out that Georges ironically follows this with details. Professor Russell J. A. Kilbourn writes that Georges had suppressed his memories and his sense of guilt and that for Haneke, trauma is lived in the present through memory. Georges's dream, in which he sees young Majid kill the rooster, and then menace him with the ax, "presents a spectacle of real death in the place of any simulation or reconstruction of the events of October 1961", author Michael Lawrence writes. 665:

joke played by friends of their 12-year-old son, Pierrot, or the work of fans of Georges, who hosts a literary television show. A second tape arrives, accompanied by a childlike drawing of a person with blood streaming out of his mouth. Similar drawings are mailed to Georges's workplace and Pierrot's school. Disturbed, the Laurents turn to the police, who determine the tapes are too harmless to be considered criminal activity. The Laurents host a dinner party that is interrupted by the delivery of another videotape, with a crude drawing of a chicken bleeding at its neck. When Anne discloses the stalking to their friends, Georges puts the tape in the VCR and finds it shows the estate where he grew up.

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polarizations", according to film studies professor Malini Guha. Gavarini identifies him as the guilty party in the tapes, and submits the drawings attached to the tapes are Majid's attempts at understanding his past, and communicating these thoughts to Georges, unable to verbally communicate them. The viewer is invited to ponder what Majid's son has inherited from his father; Georges questions the son on "what dumb obsession passed down", though Wheatley argues that if the son is telling the truth that Majid raised him properly, he would not hate Georges.

1635:" after two viewings, crediting Juliette Binoche for a naturalistic performance, and pondered the 1961 massacre: "Has France hidden it in its memory?" Also in 2010, Ebert further explored the whodunit question, considering the motives of various characters. Ebert questioned whether the last scene's encounter between Pierrot and Majid's son is the first time they met, or one of many encounters. He concluded Majid's son must be at least partly responsible and that Pierrot is a possible accomplice, as it is not clear where he is in many scenes. In his 6065: 6049: 6033: 6017: 919:. Majid's neighbourhood was filmed on location at Avenue Lénine in Romainville. Interior scenes at the Laurent residence were shot in Vienna, Austria in August 2004. Interior scenes for Majid's apartment were also shot in Vienna, with Paris largely used for outdoor scenes, and stairs from Paris replicated in Vienna. Haneke said most of the filming likely took place in Vienna. It was the first film he made using high-definition video cameras; it also has no score, due to Haneke's belief that music conflicts with realism. 676:. Feeling responsible for Majid, Georges's parents intended to adopt him, but the process was never finalised. Suspecting Majid might be responsible for the tapes, Georges visits his ailing mother, who surprisingly professes not to remember Majid well. When the Laurents receive another tape, revealing a low-income housing apartment, Georges tells Anne he has a suspect in mind, but will not say who until he can confirm his suspicion. Anne responds with shock at what she sees as his lack of trust. 1118: 1257: 684:

explains to Anne that he was six when his parents were planning to adopt Majid and that he did not want it to happen; he told lies about Majid, who was sent away. When Pierrot disappears, the Laurents frantically contact the police, who check Majid's apartment and arrest Majid and Majid's son, though they deny involvement in kidnapping. Pierrot returns to his family, having spent time with friends, and hints to Anne that he thinks she is too close to Pierre, a family friend.

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to kill the family's rooster, falsely claiming his father wanted him to. The police confirm the cause of death as suicide, but Majid's son appears at Georges's workplace to confront him. Believing the son is responsible for the tapes, Georges threatens him to cease surveillance, but the son replies he was not involved with the tapes and wanted to know how Georges felt about being responsible for a death. Later, Majid's son converses with Pierrot after school.

1694: 756:; a book about Vichy is visible on Georges's shelf. In the aftermath of the massacre, the French government suppressed many of the facts by restricting police archives and delaying and cancelling public investigations, until allowing three historians to review the archives in 1998. The media reported three deaths in 1961; the massacre was not revisited until 1997 when Papon went to trial for his Vichy record. 344:. The plot follows an upper-middle-class French couple, Georges (Auteuil) and Anne (Binoche), who are terrorised by anonymous tapes that appear on their front porch and seem to show the family is under surveillance. Clues in the videos point to Georges's childhood memories, and his resistance to his parents' adopting an Algerian orphan named Majid, who was sent away. The tapes lead him to the now-grown Majid ( 908: 707: 1791:, beginning with three deaths on 27 October; professor Gemma King writes the film offered a progressive perspective in contrast to the real-life divisions in the wake of the riots. According to Walker, the riots' occurrence shortly after the film's release made it seem "uncannily resonant"; Radstone cites the riots to interpret the film as a statement on racial tensions felt by whites. King observes 1056:. Film studies professor Catherine Wheatley also observes a man sitting behind Anne and Pierre in the café and observing them. Lecturer Judit Pieldner observes Georges's shelves are lined with CDs, DVDs and videotapes, amounting to a celebration of media technology. The length of the tapes the Laurents receive is also stated at two hours, a nod to the typical capacity of VHS and 1489:. The use of shadows and lighting adds depth to the narrative, enhancing the film's critique of societal norms and power structures ... Like his Snyderian and Nolanist predecessors, Haneke's approach is subtle and nuanced, relying on the savoir-faire of lead acteurs Daniel Auteuil and Juliette Binoche, to convey emotional depth and psychological tension." 1215:, and Mathilde is Anne's friend in both films. Lawrence suggests Haneke used this character-naming method to downplay "individualization" and allow the audience to see the characters as "multiple versions of a particular type". Haneke himself said that he sought short character names to avoid "any hidden metaphorical meaning" detracting from realism. 1166:

suspicions to be correct, given how Anne seeks Pierre for comfort, and suggests Pierrot "sees far more" than Anne realises. Pierrot's "mysterious, hostile behaviour", including accusing his mother of adultery, invites suspicion that he is behind the tapes. Wheatley compares Pierrot, as a child rebel against his elders, to the

793:?" because I chose to use the genre, the structure of a thriller, to address the issues of blame and conscience, and these methods of narrative usually demand an answer. But my film isn't a thriller and who am I to presume to give anyone an answer on how they should deal with their own guilty conscience? 1100:

The fact that the world becomes picture at all is what distinguishes the essence of the modern age ... When, accordingly, the picture character of the world is made clear as the representedness of that which is, then in order fully to grasp the modern essence of representedness we must track out

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Academic Jehanne-Marie Gavarini notes photography was employed to preserve memory in the 19th and 20th centuries, suggesting the videos in the story serve to assist remembering, as opposed to being evidence of surveillance as a terror tactic. Editors Amresh Sinha and Terence McSweeney also identified

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By the beginning of November, Les Films du Losange found the film was performing "strongly" in France. In the United States and Canada, Sony moved it from 10 to 22 screens by 25 January 2006 to gross $ 718,406. It opened in the United Kingdom making £169,000 in its first weekend, reaching £1 million

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was the reason I wrote this script" and that he envisioned Auteuil and Binoche in the lead roles and had "almost all the actors in mind" while working on the screenplay. Haneke had never worked with Auteuil before, but chose him because he felt Auteuil always played his roles as if keeping a secret.

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In October '61, the FLN called all Algerians to a demonstration in Paris. October 17, 1961. Enough said. Papon. The police massacre. They drowned about 200 Arabs in the Seine. Including Majid's parents most likely. They never came back. Dad went to Paris to look for them. They said he should be glad

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are real. According to Radstone, the style is characterised by "its closed-in camerawork, its aesthetic and narrative concerns with surveillance, its claustrophobic interiority". Film studies professor Oliver C. Speck has written that Haneke rejected "pseudo-realism" in its recreations of Georges's

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Majid calls Georges and asks him to come back to the apartment. When Georges arrives, Majid denies having sent the tapes, says he wanted Georges present, and kills himself by slashing his throat. Georges confesses to Anne that as a boy, he had claimed Majid was coughing up blood and convinced Majid

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An affluent Parisian couple, Anne and Georges Laurent, discover a videotape left on their property without explanation that shows hours of footage of their residence, implying they are under surveillance. Puzzled about its origin, they debate its purpose, considering whether it might be a practical

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Noting that the opening sequence is characterised by a lengthy take in which the camera is stationary and focused on a street, with a "crowded composition" and a two-storey house in the centre, essayist Jonathan Thomas compares this to a photograph, along with sounds of birds, and described it as

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For the scene in which a rooster is beheaded, a real chicken was used and actually killed. In the suicide scene, Haneke sought to create a realistic effect, remarking "if the suicide scene is not plausible then the entire film is spoiled". In the final scene, Lester Makedonsky and Walid Afkir are

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I'm not going to give anyone this answer. If you think it's Majid, Pierrot, Georges, the malevolent director, God himself, the human conscience – all these answers are correct. But if you come out wanting to know who sent the tapes, you didn't understand the film. To ask this question is to avoid

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and finds Majid there. Majid denies knowledge of the tapes or drawing, but Georges does not believe him and threatens him. A hidden camera recorded the conversation with Majid, who breaks down crying after Georges leaves, and tapes of the encounter are sent to Anne and Georges's employer. Georges

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Throughout the film, images are spliced, from the "dramatic present", "prerecorded video", seeing Georges on television, and flashbacks, according to Thomas. Gavarini asserts that the opening is deceptive as to whether the viewer is seeing from the protagonists' perspective, producing "confusion

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Though it resembles a whodunit, the film does not reveal who sent the tapes. A solution may not be possible, as given the setting and the camerawork, the camera could not record without being seen when Georges looks into it, Herzog writes. This suggests Haneke himself is sending the tapes in the

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While the Paris massacre inspired the plot, Haneke said the story was not about a "French problem" as something unusual, remarking, "This film was made in France, but I could have shot it with very few adjustments within an Austrian – or I'm sure an American – context". Another inspiration was a

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or noise. Speck adds that the digital film clouds distinctions between the surveillance footage and other scenes, removing "ontological certainty". The colour scheme, observable in the Laurents' apartment, focuses on grey, brown and beige and communicates dissatisfaction; Haneke had employed it

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Majid may also be trying to cope with trauma, with Gavarini writing Majid lives in poverty, "still haunted by the disappearance of his parents". There is a class separation between Majid and Georges, as Majid lives in an HLM and the settings reveal "markers of racial, cultural, and class-based

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Georges's general paranoia is observed in his failure to be open and forthright with his friends and employer. In his mind, "the enemy is everywhere", Wheatley writes. Smith considers the lack of communication between Georges and Anne originates "from everything that was swept under the rug".

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Anne's position as "moral compass" is made ambiguous by hints of possible adultery with Pierre, according to Wheatley. While no sex is shown, the characters' closeness in their café scene makes the notion appear possible though uncertain. Film professor Christopher Sharrett judges Pierrot's

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Radstone argues the focus on surveillance and Georges's confrontation with a black cyclist indicate the perspective is that of "the privileged and anxious white middle class". Academic Eva Jørholt argues the film illustrates how white paranoia in the aftermath of colonialism explains racial

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is distinctive in being "about being looked at rather than looking at something or someone". Haneke reveals life without privacy, Herzog writes. Qian He of the University of Washington writes the precise question of who is watching is the "question that haunts our daily life";

805:'s character tells when claiming to have a scar matching the wound of a dog killed on the day the character was born. Haneke explained, "I wrote it down when I got home and always wanted to use it. I think it sits well here because it makes people ask if it's true or not". 31: 1615:

a "brilliant if unpleasant puzzle without a solution", writing that "Haneke is so punitive toward the couple and his audience that I periodically rebelled against—or went into denial about—the director's rage, and I guess that's part of the plan." Calum Marsh of

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s Peter Bradshaw gave the film five out of five stars, describing it as "one of the great films of this decade" and "Haneke's masterpiece". For the BBC, Matthew Leyland gave it four stars, citing the mounting suspense over themes of guilt. In a review for

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Haneke began writing the screenplay by September 2001. He described a starting point: "I had been toying with the idea of writing a script in which someone is confronted with his guilt for something he did in childhood". In planning the film, he chose the

1387:. To market the film, Artificial Eye designed a trailer with no music and heavy dialogue with subtitles, emphasising a complicated plot. By the end of January, Sony expanded the release to Chicago, Boston, San Francisco, Montreal, and other cities. The 1798:

Following the film's disqualification at the Academy Awards, the Academy revised its rules so as to emphasise the filmmaker's origin over the country's language for eligibility for Best Foreign Language Film. Subsequently, Haneke's 2012 French-language

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between the director's camera and the diegetic video" and involving the audience as perpetrators of the surveillance. Speck likens the lengthy takes to "visual rhymes". Thomas writes that the high definition makes them "materially homogeneous", with no

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contributor Michael Joshua Rowin considered it Haneke's most political work to date, "not merely liberal hand wringing" in its depiction of "passive-aggressive oppression and its manifestation as a slow-building, unresolved societal tension".

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in general. While presented as a mystery, the film does not explicitly reveal which character sends the tapes. Haneke regarded that as of secondary importance to the exploration of guilt and left the question up to viewer interpretation.

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broadcast seen in the film. Author Patrick Crowley writes these are used to represent "the return of the colonial repressed ... within contemporary forms of imperialism", and that they are connected to the Paris massacre and the

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in Iraq and Palestinians being killed in a protest; Walker notes that the background volume remains louder than the Laurent dialogue, while "classical realism" would require the viewer to lose interest in the background news.

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where Binoche was killed, the audience would be distracted from the story to mourn Binoche, and asks: "how do we consider the death of the rooster in that same movie? Do we mourn at all, and if we do, what are we mourning?"

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of France, Austria, Germany and Italy. Haneke wrote the screenplay with Auteuil and Binoche in mind, and with a concept of exploring guilt and childhood. When he learned of the French government's decades-long denial of the

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reported an 89% approval rating based on 135 reviews, with an average rating of 7.85/10. The website's critical consensus reads "A creepy French psychological thriller that commands the audience's attention throughout". On

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opened on 5 October 2005. Its poster featured a blood spray alluding to the suicide scene. It opened in New York City and Los Angeles on 23 December 2005, and in the United Kingdom on 27 January 2006, distributed by

1311:(1954). The opening credits appear over the shot, in a style suggesting they are being typed. After two minutes and no cut, the "stillness" starts to "weigh" on the viewer. Pieldner compared this to Italian director 7841: 2621: 1852: 1770:

calling the exclusion "unfortunate" and saying the story demanded the film be in French. Austria's Fachverband der Audiovisions und Filmindustrie protested the criteria, and Haneke, whose previous French-language

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would give the audience more information than the characters have; Wheatley writes "Thus the audience must know, for example, that a bomb is hidden in the child's parcel but the child himself must not".

1496:, Jean-François Rauger wrote that while Haneke may be heavy-handed in his negative outlook and use of news about war in the Middle East playing the background, the atmosphere of terror deserved credit. 980:

discrimination in modern France. According to film studies scholar Maria Flood, Majid is largely kept invisible, and his suicide scene confronts viewers with society's marginal people. Celik added that

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awarded it four stars, lauding its focus on "paranoia and distrust" rather than providing a whodunit conclusion, and remarking on the way characters hide so much from each other, reflecting the title.

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lauded the film as "an avant-garde tour de force" and a "love letter to cinéma". In his 2006 analysis, he writes, "Haneke's direction is irreverent and Lynchian, drawing parallels to the works of

3773: 976:, is through Papon. The violence of colonialism, lasting into the present, is also depicted as entering private homes and the media in "hidden" ways, according to essayist Brianne Gallagher. 797:

Haneke also left it ambiguous whether the young Georges's claim that Majid coughed blood was a lie, but said he viewed the depiction of Majid menacing Georges with an ax as a mere nightmare.

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s Stuart Klawans judged it not a statement of "liberal guilt" but "liberal self-regard" in having Majid choose to die for Georges's sake, in Klawans's interpretation. Jonathan Rosenbaum of

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speaking dialogue Haneke scripted, but Haneke chose not to publish it and left it inaudible, and instructed the actors to never disclose it. Haneke chose a wide shot and positioned the

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The film finished its run grossing $ 3.6 million in the U.S. and £1.1 million in the U.K., more than any previous Haneke film in either country. It grossed US$ 16,197,824 worldwide.

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Given the conditions of poverty, the name Avenue Lénine might be provocative; Avenue Lénine is a real-world street in Romainville, Paris named after Soviet leader and revolutionary

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critic Deborah Young reviewed Haneke's pacing favorably and found themes of responsibility, regarding France and Algeria but tied into the United States and Europe in the Iraq War.

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story. Georges has no reason to send the tapes to himself and Anne, and the idea that Georges is unconsciously and psychically producing the tapes contradicts the realistic style.

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asking the real question the film raises, which is more: how do we treat our conscience and our guilt and reconcile ourselves to living with our actions? People are only asking, "

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Principal photography took place at Rue des Iris and Rue Brillat-Savarin, Paris, where Haneke ordered parked vehicles arranged and rearranged to match his vision and prepare for

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While the filmmakers intended the production to be entirely French, they discovered they could not raise the funds in the one country. It received international backing from

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Renaud, Cecile (2014). "Hidden in Plain Sight: UK Promotion, Exhibition and Reception of Contemporary French Film Narrative". In Roberta Pearson; Anthony N. Smith (eds.).

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to critical acclaim for the performances and Haneke's direction. Its plot ambiguities raised considerable discussion. The film has been interpreted as an allegory about

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is one of a growing number of French films that take a progressive view of the country's colonial past, and that films about Algeria became more common in later years.

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Child actor Lester Makedonsky was cast as Pierrot, and because of his swimming skills, the filmmakers chose swimming as Pierrot's sport. Haneke had also worked with

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style by withholding information from the audience until characters disclose it, and not being clear as to whether the characters are honest and whether the

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Generally, Haneke's style has been described as displaying "an aesthetics of dread"; a feeling of "existential dread" or "ambient dread" is also present in

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Animal deaths in Haneke's films have often been portrayed through the killing of an actual animal; Philosophy professor H. Peter Steeves wrote that, if

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s Kirk Honeycutt credited the film for a thorough exploration of "guilt, communication and willful amnesia", and praised the cinematography.

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circa 1995; he accepted the role, interested in exploring the national conscience surrounding the incident, which made an impression on him.

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polls of the greatest films ever made; it is 154th among critics and 75th among directors. In 2016, critics also voted it the 23rd best in

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as a model but intended the true point to be an exploration of guilt; he deliberately left the question of who sent the tapes ambiguous:

4197: 3484: 8655: 7503: 1730: 1701: 1600:, Mick LaSalle called it "a handsome fraud...in its style, technique and ultimate message", becoming dull and "a drab social polemic". 1481:

complexity, inviting viewers to question the nature of reality and perception." In a follow-up review from 2009, he added, "Visually,

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wrote that while he could criticise it as a liberal exercise in inducing guilt, it was "hard to deny its creepy, insinuating power".

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so that viewers might not notice Makedonsky and Afkir. He described post-production as marked by arduous work on fixing the sound.

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In 2015, IndieWire reporter Ryan Lattanzio reported rumours that U.S. producers had wanted to remake Haneke's film and compared

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Lawrence, Michael (2010). "The Death of an Animal and the Figuration of the Human". In Brian Price; John David Rhodes (eds.).

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stated it employs "classical suspense strategies" to enter the thriller genre. Wheatley adds the techniques differ from the

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Sharrett, Christopher (2010). "Haneke and the Discontents of European Culture". In Brian Price; John David Rhodes (eds.).

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in using a child's perspective to reveal adult dishonesty: child characters reveal Georges's dishonesty. Italian director

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Coulthard, Lisa (2011). "Interrogating the Obscene: Extremism and Michael Haneke". In Tanya Horeck; Tina Kendall (eds.).

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and BIM Distribuzione which are respectively based in France, Austria, Germany and Italy. Haneke also secured funds from

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A basis for the story was the massacre that took place in Paris on 17 October 1961, referenced by the character Georges:

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and wrote the suspense developed from there, and that Binoche and Auteuil convey the anxiety, Auteuil more internally.

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embraces an art nouveau aesthetic, with kinographic touches reminiscent of film noir classics and the chic flair of

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In the stressful scene where Anne and Georges realise Pierrot is missing, Euronews plays in the background covering

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Porton, Richard (Winter 2005). "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke".

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Porton, Richard (Winter 2005). "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke".

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Gallagher, Brianne (January 2008). "Policing Paris: Private Publics and Architectural Media in Michael Haneke's

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Celik, Ipek A (Fall 2010). "'I Wanted You to Be Present': Guilt and the History of Violence in Michael Haneke's

4905: 7276: 6636: 2269: 1729:, where polled critics and festival audiences considered it a frontrunner. Ultimately, the jury awarded Haneke 1240: 8730: 8705: 8685: 7900: 6793: 1814: 771:, "I was totally shocked that I had never heard of this event before". He decided to work it into his story. 4784:

Bennett, Ray; Byrge, Duane; Honeycutt, Kirk (17 May 2005). "Palme d'Or open wide for 'Hidden,' 'Violence'".

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and Claire Denis in its critique of societal facades and exploration of existential themes. His foray into

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and God. Philosopher William G. Smith tied Haneke's ambiguity as to the sender of the tapes to philosopher

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member Mark Johnson responded, "We're in the process right now of considering some very radical changes".

1624:"Haneke’s predilection for deceit served a high-minded, if still somewhat suspect, intellectual purpose". 1052:

The setting of Rue des Iris has symbolic significance, as "iris" refers to a part of the human eye and to

849:, where her character was also named Anne Laurent. She joined the cast, along with Auteuil, in fall 2002. 8780: 8775: 8720: 8690: 8665: 8621: 8501: 8027: 7482: 7340: 6987: 6120: 5117: 8541: 8284: 7971: 7540: 7019: 6564: 6412: 4877: 4736: 1049:'s writings on interpretation, quoting Haneke: "There are 1,000 truths. It's a matter of perspective". 1876:

Les Films du Losange is based in Paris; Wega-Film in Vienna; Bavaria-Film in Munich, and BIM in Rome.

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has been regarded in the years since its release as one of the great films of the 2000s, included in

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Gavarini, Jehanne-Marie (2012). "Rewind: The Will to Remember, the Will to Forget Michael Haneke's

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By fall 2002, Mars Distribution had signed on as the French distributor. The film premiered at the

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Socrates and Subtitles: A Philosopher's Guide to 95 Thought-Provoking Movies from Around the World

4597: 4314: 2426: 8194: 7724: 7716: 7596: 7300: 7225: 6939: 6219: 6169: 6078: 5697:(2010). "Games Haneke Plays: Reality and Performance". In Brian Price; John David Rhodes (eds.). 5538:

Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema

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as "a broad political allegory about Western guilt and a meditation on the nature of seeing."

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James, Alison (31 October 2005). "FRANCE: Blooming 'Flowers' keeps distrib Bac in the game".

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Flood, Maria (March 2017). "Brutal Visibility: Framing Majid's Suicide in Michael Haneke's

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for the United States, English-speaking Canada and Mexico. It subsequently screened at the

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was not disqualified as the Austrian submission, also called the rules "really stupid".

853: 480: 345: 101: 8517: 8485: 8346: 8083: 7981: 7636: 7604: 7391: 7217: 6947: 6902: 6724: 6548: 6444: 6404: 6016: 5916: 5682: 5524: 5432: 5122: 4943: 4882: 4849: 4225: 4192: 3942: 3901: 3804: 3735: 2701: 1739: 1101:

and expose the original naming power of the worn-out word and concept 'to represent'".

1088: 1053: 2400: 2046: 2002: 972:. The film's connection between the Seine River massacre and the Holocaust, including 802: 609: 174: 126: 8613: 8533: 8396: 8103: 8053: 7920: 7820: 7804: 7756: 7732: 7620: 7556: 7474: 7383: 7249: 7099: 6979: 6676: 6476: 6239: 6022: 6011: 5975: 5956: 5937: 5920: 5885: 5866: 5847: 5828: 5809: 5790: 5767: 5748: 5725: 5702: 5686: 5643: 5624: 5601: 5579: 5560: 5541: 5528: 5472: 5453: 5436: 5372: 5349: 5327: 5308: 5262: 5240: 5198: 4910: 4697: 2107: 1915: 1801: 1788: 1744: 1009: 989: 941: 817: 712: 668:

Georges begins to have vivid dreams about Majid, a boy he knew in childhood. Majid's

375: 7495: 2809: 679:

Following the last tape's clues, Georges locates the apartment off Avenue Lénine in

8581: 7740: 7708: 7660: 7431: 7348: 7059: 7035: 6764: 6668: 6532: 6516: 6484: 6396: 6229: 6199: 6149: 5912: 5908: 5694: 5674: 5516: 5424: 5399: 5291: 5223: 5214: 3833: 2579:"Michael Haneke est le metteur en scène le plus facile avec lequel j'aie travaillé" 2460: 1960: 1902: 1896: 1677: 1628: 1411: 1403: 1302: 1298: 1281: 1183: 1174: 1093: 1024: 892: 862: 840: 628: 590: 461: 341: 139: 121: 96: 5880:

Steeves, H. Peter (2017). "The Doubling of Death in the Films of Michael Haneke".

5716:

Pieldner, Judit (2012). "Along the Track of the Effaced Trace in Michael Haneke's

5520: 1323: 8509: 8366: 8330: 8063: 8017: 7880: 7700: 7201: 6865: 6732: 6700: 6692: 6644: 6572: 6044: 6028: 4019: 3958: 3768: 2669: 2112: 1853:

List of Austrian submissions for the Academy Award for Best Foreign Language Film

1470: 1454: 1388: 1343: 741: 647: 315: 65: 6055: 5882:

Beautiful, Bright, and Blinding: Phenomenological Aesthetics and the Life of Art

5195:

Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran

4801: 4281: 3546: 8565: 8442:

San Francisco Bay Area Film Critics Circle Award for Best Foreign Language Film

8356: 8314: 8033: 7668: 7612: 7415: 6918: 6910: 6756: 6740: 6612: 6380: 6101: 5593: 5367:

and the Events of October 17, 1961". In Brian Price; John David Rhodes (eds.).

5282: 5254: 4558: 4530: 4385: 4286: 4127: 2834: 2616: 2486: 1947: 1697: 1640: 1564: 1503: 1143: 1070: 924: 882: 872: 829: 571: 533: 442: 337: 333: 179: 111: 106: 91: 44: 6038: 5428: 4380: 4014: 1117: 911:

The story was partly set in Rue des Iris, Paris, which was a filming location.

744:, and as many as 200 protesters in Paris may have been shot or drowned in the 672:

parents worked as farmhands on Georges's family estate but disappeared in the

8644: 7788: 7580: 6886: 6748: 6524: 6508: 1858:

List of submissions to the 78th Academy Awards for Best Foreign Language Film

1830:

in attempting to explore a "moral and existential minefield". Edgerton cited

1809: 1722: 1585: 1322:

Wheatley notes the "painstaking arrangement" of the four-minute final shot's

1135: 916: 781: 749: 5846:. Jefferson, North Carolina and London: McFarland & Company Publishers. 5295: 5227: 4525: 1502:

gave it three out of four stars, declaring it an excellent thriller, citing

1158:

cinematographers used to block parts of shots to highlight another element.

1134:

Scholar Hugh S. Manon hypothesises the surveillance represents psychiatrist

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as part of a 21st-century trend of films concerned with memory, along with

845: 813: 753: 729: 552: 379: 184: 116: 5557:

Decentring France: Multilingualism and Power in Contemporary French Cinema

5486:

Herzog, Todd (Fall 2010). "The Banality of Surveillance: Michael Haneke's

5403: 5085:"Joel Edgerton's 'The Gift' Is Hollywood's Best Attempt to Remake 'Cache'" 4050: 1256: 8557: 8304: 8274: 8113: 7910: 7865:

Los Angeles Film Critics Association Award for Best Foreign Language Film

7652: 7407: 7083: 5341: 4277: 4159: 1632: 1543: 1539: 1511: 1498: 1478: 1436: 1384: 1359:

in May 2005, where distributors purchased distribution rights, including

1319:, where a shot goes on even after the storytelling seems to have ceased. 1307: 1286: 1155: 945: 745: 680: 383: 6596: 6005: 5305:

In Permanent Crisis: Ethnicity in Contemporary European Media and Cinema

3547:"Cache (Hidden): Thriller from Michael Haneke Starring Juliette Binoche" 833:

Auteuil had learned of the 1961 massacre only after reading about it in

8549: 8294: 8093: 7987: 7748: 6556: 6540: 6060: 5899:

Thomas, Jonathan (1 September 2008). "Michael Haneke's New(s) Images".

5743:: Or what the past hides". In Mick Broderick; Antonio Traverso (eds.). 5467:

Guha, Malini (2015). "Global Paris: Topographies and Dwelling Spaces".

4483: 4055: 1933: 1459: 1331: 1267: 1037:

is one film that explores the question, answers to which have included

6817:

British Independent Film Award for Best International Independent Film

5764:

Storytelling in the Media Convergence Age: Exploring Screen Narratives

5052:"Oscars: Michael Haneke, Christoph Waltz Win on Big Night for Austria" 4790:. Vol. 389, no. 10 (International ed.). pp. 15–18. 1981:

must have "artistic control" from a "creative talent of that country".

1693: 8386: 7955: 7367: 7209: 7144:

Chicago Film Critics Association Award for Best Foreign Language Film

7075: 6995: 5998: 5089: 3872: 3515: 1593: 969: 7644: 7284: 7588: 6327: 5745:

Interrogating Trauma: Collective Suffering in Global Arts and Media

5615:

Manon, Hugh S. (2010). "'Comment ça, rien?': Screening the Gaze in

5363:

Crowley, Patrick (2010). "When Forgetting Is Remembering: Haneke's

4481:

Klawans, Stuart (30 January 2006). "Cruel and Unusual Punishment".

4091: 4024: 2583: 1643:

gave it three stars, calling it "icily meticulous, if protracted".

964: 956: 835: 790: 326: 7233: 7051: 6070: 5657:

Mecchia, Giuseppina (2007). "The Children Are Still Watching Us,

4939:"Oscars 2018: Weighing The Early Best Foreign Language Film Race" 4450:"'Caché' tries to dig into what lies beneath, but comes up empty" 1888:

The names Anne and Georges or variations also appear in Haneke's

1667:

s "100 best films of the noughties". The film was ranked 73rd in

1574: 1301:

calls it "slice-of-life realism", comparing it to the opening of

1199:

Haneke had previously used the names Anne and Georges Laurent in

1018: 5932:: The Postcolonial Resonance of Silences and Saying 'Nothing'". 5469:

From Empire to the World: Migrant London and Paris in the Cinema

8123: 7945: 6849: 4623:

Gritten, David; Robey, Tim; Sandhu, Sukhdev (6 November 2009).

3868:"'Why We Fight' Tops BOT; 'Brokeback Mountain' Continues Climb" 1038: 907: 30: 5781:

Rowe, Christopher (2017). "The Intermedial Dynamics of Shame:

1660:

s list of "The films that defined the noughties", and 36th in

8143: 5503:

Jørholt, Eva (March 2017). "White paranoia: Michael Haneke's

5152:"In Directorial Debut, Actor Joel Edgerton Delivers a 'Gift'" 3995: 1631:

list in 2010, expressing disbelief about missing a possible "

5507:

reflected through Alain Robbe-Grillet's novel La Jalousie".

4414:"The Squid and the Whale: P. Slope Parents Who Can't Parent" 2994: 2992: 2979: 2977: 2975: 2973: 2643: 2641: 2639: 1578:

in making "challenges naïve assumptions of ocular mastery".

1146:, which Georges wishes to avoid. Manon suggests that unlike 1016:

follows a tradition of cinema about surveillance, including

4824: 3509:

Rowin, Michael Joshua; Pinkerton, Nick (19 December 2005).

3239: 3227: 3004: 2422: 1446:

s box-office performance as having "considerable success".

1057: 764: 3899:

Kehr, Dave (27 June 2006). "Critics's Choice: New DVD's".

3442: 3350: 3256: 3254: 3217: 3215: 3163: 3161: 3028: 3016: 2699:

James, Alison (7 November 2002). "Binoche finds 'Cache'".

1649:

was among the more acclaimed films of the 2000s. In 2009,

1410:. That month, Artificial Eye also published a single-disc 899:, both being friends of the two versions of Anne Laurent. 4554:"Caché: A riddle, wrapped in a mystery, inside an enigma" 4318: 3846: 3844: 3671: 3430: 3338: 3178: 3176: 3040: 2989: 2970: 2885: 2883: 2753: 2751: 2636: 2205: 2203: 1671:

magazine's "The 100 Best Films Of World Cinema" in 2010.

3983: 3700: 3698: 3454: 2151: 2149: 2147: 801:

story he had heard from a friend, similar to that which

360:, he incorporated memories of the event into his story. 3649: 3647: 3598: 3596: 3418: 3326: 3251: 3212: 3188: 3158: 2358: 2344:

Hidden: Interview with Michael Haneke by Serge Toubiana

1406:

in June 2006, along with Yves Montmayeur's documentary

752:

was prefect of the Paris police, and previously served

5031: 4973:

Kirschling, Gregory (13 January 2006). "Oscar Watch".

3921: 3909: 3841: 3608: 3581: 3314: 3290: 3173: 3052: 2936: 2934: 2907: 2880: 2748: 2736: 2375: 2373: 2215: 2200: 2173: 7525: 4783: 4598:"The 21st Century's Most Acclaimed Films (Full List)" 3710: 3695: 3683: 3659: 2919: 2895: 2724: 2714: 2712: 2144: 2132: 1109:

is a statement on "the virtual space of the screen".

5934:

Hearing Haneke: The Sound Tracks of a Radical Auteur

5261:. Urbana and Chicago: University of Illinois Press. 5021: 5019: 4794: 4337: 3831:

Gant, Charles (April 2006). "The cachet of Daniel".

3644: 3632: 3620: 3593: 3278: 3266: 3200: 3134: 3088: 3076: 2796: 2794: 2792: 2790: 2161: 1105:

Drawing on Heidegger's theories, Gavarini concludes

496: 5863:

Funny Frames: The Filmic Concepts of Michael Haneke

4578: 3800:"A Nice Middle-Class Couple With Their Own Stalker" 3731:"Anxiety and Turbulence Permeate 3 Films at Cannes" 3569: 3362: 3302: 3146: 3064: 2958: 2946: 2931: 2775: 2763: 2370: 2227: 1977:set a rule in 1984 that a country's submission for 1733:. It went on to win numerous other awards. At the 820:in his native Austria, for a budget of €8 million. 587: 477: 458: 5324:The New Extremism in Cinema: From France to Europe 5150: 4622: 3374: 2709: 2190: 2188: 1178:. Academic Giuseppina Mecchia likened the film to 644: 606: 5016: 3739:. Vol. 154, no. 53216. pp. E1–E2. 2787: 2073:"Haneke's Hidden cranks up with Binoche, Auteuil" 1737:, it competed with the Cannes Palme d'Or winner, 568: 530: 439: 351:Shot in Paris and Vienna in 2004, the film is an 8642: 895:previously played a character named Mathilde in 5953:Michael Haneke's Cinema: The Ethic of the Image 4155:"Caché: les racines historiques de la barbarie" 2185: 549: 390:The film won three awards at Cannes, including 5884:. Albany: State University of New York Press. 5822: 5448:". In Amresh Sinha; Terence McSweeney (eds.). 5346:Projections 15: With the European Film Academy 4968: 4966: 3808:. Vol. 155, no. 53437. p. E13. 3508: 3233: 1758:The film was submitted as Austria's entry for 625: 513: 406:. It was controversially disqualified for the 8426: 7849: 7511: 7186:The Cook, the Thief, His Wife & Her Lover 7128: 6801: 6361: 6086: 5619:". In Brian Price; John David Rhodes (eds.). 5340: 4657:"100 best films of the noughties: Nos 11–100" 4001: 2572: 2570: 2546: 2544: 2542: 2540: 2513:"Austrian Filmmakers Fear Public Budget Cuts" 930: 3905:. Vol. 155, no. 53623. p. E5. 1683:BBC's 100 Greatest Films of the 21st Century 1172:murderers and the children in Haneke's 2009 1004:Professor Todd Herzog states that after the 416:BBC's 100 Greatest Films of the 21st Century 408:Academy Award for Best Foreign Language Film 5640:The Cinema of Michael Haneke: Europe Utopia 5637: 4963: 4936: 4830: 3764:"Michael Haneke: A truly shocking director" 2829: 2827: 2337: 2335: 2301: 2299: 2297: 2295: 2263: 2261: 2259: 1975:Academy of Motion Picture Arts and Sciences 8433: 8419: 7856: 7842: 7518: 7504: 7135: 7121: 6808: 6794: 6368: 6354: 6093: 6079: 6063: 6047: 6031: 6015: 5823:Sinha, Amresh; McSweeney, Terence (2012). 5049: 4972: 4689:"The 100 Best Films Of World Cinema – 73. 4681: 4080: 4078: 3511:"A View to a Kill: Michael Haneke's Cache" 3105: 3103: 2576: 2567: 2550: 2537: 2510: 1884: 1882: 1154:has a double meaning, referencing "masks" 711:A commemorative plaque to the massacre at 29: 5827:. London and New York: Wallflower Press. 5808:. Detroit: Wayne State University Press. 5701:. Detroit: Wayne State University Press. 5623:. Detroit: Wayne State University Press. 5578:. Detroit: Wayne State University Press. 5410: 5371:. Detroit: Wayne State University Press. 5321: 5193:: Michael Haneke". In Gary Morris (ed.). 5082: 4992:"Haneke's Hidden rejected as Oscar entry" 4903: 4878:"Five Oscar Nominees: Foreign, Not Alien" 4497: 4378: 4251: 4116: 4114: 3793: 3791: 3460: 3034: 2658: 2656: 1510:, Serge Kaganski compared the opening to 5969: 5950: 5825:Millennial Cinema: Memory in Global Film 5803: 5738: 5715: 5638:McCann, Ben; Sorfa, David, eds. (2012). 5573: 5535: 5450:Millennial Cinema: Memory in Global Film 5443: 5253: 4487:. Vol. 282, no. 4. p. 36. 4185: 3989: 3861: 3859: 3755: 3689: 3677: 3614: 3587: 3504: 3502: 3436: 3424: 3344: 3332: 3320: 3296: 3260: 3245: 3221: 3194: 3182: 3167: 3010: 2983: 2913: 2889: 2833: 2824: 2757: 2742: 2694: 2692: 2647: 2364: 2332: 2308:"We love Hidden. But what does it mean?" 2305: 2292: 2267: 2256: 2179: 2138: 2066: 2064: 1967: 1692: 1365:2005 Toronto International Film Festival 1280:, filmed in Brillat-Savarin, Paris, and 1276:The house shown in the opening shots of 1116: 906: 843:had previously starred in Haneke's 2000 706: 696: 5955:. New York and Oxford: Berghahn Books. 5879: 5693: 5656: 5502: 5362: 5212:Beugnet, Martine (2007). "Blind Spot". 5211: 5115: 4498:Rosenbaum, Jonathan (14 October 2005). 4480: 4444: 4312: 4085:Rauger, Jean-François (10 April 2005). 4075: 3956: 3761: 3665: 3540: 3538: 3448: 3356: 3109: 3100: 3046: 3022: 2925: 2901: 2876:. Vol. 31, no. 1. p. 51. 2609: 2252:. Vol. 31, no. 1. p. 50. 2221: 2209: 2155: 1879: 1787:The film's French release preceded the 1506:for her performance as the mother. For 1207:(1997). Binoche played Anne Laurent in 8643: 6160:71 Fragments of a Chronology of Chance 5927: 5898: 5865:. New York and London: A&C Black. 5761: 5592: 5485: 5165:from the original on 19 September 2016 5050:Roxborough, Scott (25 February 2013). 5037: 4989: 4937:Tartaglione, Nancy (1 December 2017). 4904:Goldstein, Patrick (16 January 2006). 4845:"Haneke's 'Hidden' finds top EFA nods" 4759:"The 21st Century's 25 greatest films" 4625:"The films that defined the noughties" 4584: 4566:from the original on 25 September 2017 4411: 4294:from the original on 26 September 2017 4135:from the original on 26 September 2017 4111: 4084: 3927: 3915: 3850: 3837:. Vol. 16, no. 4. p. 8. 3788: 3728: 3704: 3653: 3638: 3626: 3472: 3094: 3082: 2998: 2869: 2730: 2665:"Michael Haneke talks Anne and George" 2662: 2653: 2429:from the original on 16 September 2017 2341: 2245: 2167: 988:well-timed for 2005, with the rise of 8701:Films about security and surveillance 8414: 7837: 7499: 7116: 6789: 6349: 6331: 6074: 5860: 5841: 5614: 5385: 5302: 5275: 5234: 5197:. London and New York: Anthem Press. 5130:from the original on 27 November 2017 4951:from the original on 13 December 2017 4875: 4705:from the original on 6 September 2015 4669:from the original on 8 September 2013 4551: 4523: 4276: 4218: 4120: 4031:from the original on 27 November 2017 3939: 3856: 3797: 3743:from the original on 16 February 2018 3716: 3602: 3575: 3499: 3308: 3284: 3272: 3206: 3152: 3140: 3122:from the original on 23 February 2018 3070: 3058: 2964: 2952: 2940: 2769: 2698: 2689: 2577:Blumenfeld, Samuel (5 October 2005). 2233: 2102: 2100: 2061: 1449: 1227:. The story has been described as a " 1083:Eternal Sunshine of the Spotless Mind 1012:became commonplace. Herzog adds that 314: 8761:Italian psychological thriller films 8681:European Film Awards winners (films) 6332: 5787:Michael Haneke: The Intermedial Void 5780: 5555:King, Gemma (2017). "Introduction". 5554: 5490:and Life after the End of Privacy". 5466: 5188: 5148: 5097:from the original on 25 January 2018 5025: 5004:from the original on 28 January 2018 4906:"How do you say 'stinks' in French?" 4857:from the original on 21 January 2018 4842: 4765:from the original on 12 January 2017 4600:. They Shoot Pictures, Don't They?. 4426:from the original on 22 January 2018 4393:from the original on 23 January 2018 4325:from the original on 7 December 2017 4313:Leyland, Matthew (23 January 2006). 4233:from the original on 22 January 2018 4200:from the original on 25 January 2018 4167:from the original on 24 January 2018 4099:from the original on 23 January 2018 4063:from the original on 22 January 2018 3898: 3880:from the original on 26 January 2018 3865: 3830: 3812:from the original on 23 January 2018 3776:from the original on 23 January 2018 3557:from the original on 22 January 2018 3544: 3535: 3523:from the original on 23 January 2018 3487:from the original on 24 January 2018 3380: 3368: 2851:from the original on 14 October 2008 2781: 2718: 2624:from the original on 22 January 2018 2591:from the original on 23 January 2018 2525:from the original on 28 January 2018 2492:from the original on 21 January 2018 2379: 2320:from the original on 21 January 2018 2306:Solomons, Jason (19 February 2006). 2280:from the original on 28 January 2018 2194: 2085:from the original on 28 January 2018 2012:British Board of Film Classification 1848:List of films featuring surveillance 1675:received 19 total votes in the 2012 1112: 974:Vichy's collaboration with the Nazis 8751:German psychological thriller films 8741:French psychological thriller films 4812:from the original on 26 August 2017 4637:from the original on 25 August 2011 4604:from the original on 31 August 2015 4462:from the original on 26 August 2017 4360:from the original on 26 August 2017 4343: 3112:"Writing In Comparative Literature" 2663:Clarke, Donald (11 November 2012). 1714:List of accolades received by Caché 724:to be rid of a couple of jigaboos. 13: 6100: 5747:. London and New York: Routledge. 5540:. London and New York: Routledge. 4990:Blaney, Martin (24 October 2006). 4918:from the original on 18 April 2012 4412:Sarris, Andrew (17 October 2005). 4186:Kaganski, Serge (1 January 2005). 3762:Mottram, James (27 January 2006). 3473:French, Philip (29 January 2006). 3395:Études Soviétiques, Issues 190–201 2270:"Michael Haneke talks about CACHÉ" 2097: 2031: 955:Present-day conflicts such as the 14: 8797: 8656:2005 psychological thriller films 8494:The Diving Bell and the Butterfly 7528:European Film Award for Best Film 6294:(segment "Michael Haneke/Vienne") 5990: 5789:. Northwestern University Press. 5724:. Cambridge Scholars Publishing. 5598:Leonard Maltin's 2014 Movie Guide 5083:Lattanzio, Ryan (5 August 2015). 4876:James, Caryn (17 February 2006). 4344:Orr, Christopher (27 June 2006). 2677:from the original on 1 April 2013 2070: 2019:from the original on 2 April 2015 1305:'s similarly surveillance-themed 1284:'s similarly surveillance-themed 759:While planning the production of 378:, and as a statement on France's 8716:Films directed by Michael Haneke 6709:Stefan Zweig: Farewell to Europe 6314:Michael H – Profession: Director 5239:. University of Michigan Press. 5142: 5109: 5076: 5064:from the original on 25 May 2013 5043: 4983: 4930: 4897: 4869: 4836: 4777: 4751: 4717: 4649: 4616: 4590: 4552:Ebert, Roger (18 January 2010). 4545: 4517: 4491: 4474: 4438: 4405: 4372: 4306: 4270: 4245: 4212: 4179: 4147: 4121:Ebert, Roger (13 January 2010). 4043: 4007: 3971:from the original on 2 June 2017 3950: 3933: 3892: 3866:Root, Steven (25 January 2006). 3824: 3798:Scott, A.O. (23 December 2005). 3722: 3110:Qian He, Belinda (Autumn 2016). 2561:Sony Pictures Home Entertainment 2511:Roxborough, Scott (3 May 2013). 2352:Sony Pictures Home Entertainment 2120:from the original on 11 May 2013 1266: 1255: 984:in denying colonial crimes made 6385:Best International Feature Film 5536:Kilbourn, Russell J.A. (2013). 5181: 5116:Foundas, Scott (22 July 2015). 4524:Marsh, Calum (2 October 2012). 4252:Honeycutt, Kirk (15 May 2005). 3729:Dargis, Manohla (16 May 2005). 3466: 3386: 2863: 2802:"Secrets, Lies & Videotape" 2603: 2504: 2475: 2441: 2415: 2393:"Films du Losange (Paris), Les" 2385: 2239: 1953: 1940: 1922: 1870: 1822:critic Scott Foundas also said 1751:winning five awards, including 1439:and Pascal Edelmann summarised 1414:DVD, later including it in its 999: 7277:Crouching Tiger, Hidden Dragon 5913:10.1080/00043249.2008.10791315 5471:. Edinburgh University Press. 5326:. Edinburgh University Press. 5149:Chai, Barbara (29 July 2015). 4379:Osterweil, Ara (1 June 2006). 4219:Young, Deborah (14 May 2005). 3957:Bentham, Jon (24 March 2006). 2610:Di Novi, Will (6 April 2015). 1995: 1568:critic Ara Osterweil compared 1092:. Gavarini quotes philosopher 935: 774: 767:. He remarked, given France's 1: 8711:Films about television people 8696:Films about police misconduct 7901:That Obscure Object of Desire 7092:The Worst Person in the World 5642:. Columbia University Press. 5521:10.1080/14715880.2016.1241585 5452:. Columbia University Press. 5417:Journal for Cultural Research 4163:(in French). 5 October 2005. 3959:"The million-pound art movie" 3545:Levy, Emanuel (21 May 2005). 1988: 1426: 691: 332:film written and directed by 8771:Sony Pictures Classics films 8225:4 Months, 3 Weeks and 2 Days 7693:4 Months, 3 Weeks and 2 Days 7333:4 Months, 3 Weeks and 2 Days 6469:'38 – Vienna Before the Fall 5970:Wheatley, Catherine (2012). 5951:Wheatley, Catherine (2009). 5739:Radstone, Susannah (2013). " 4843:Meza, Ed (4 December 2005). 4665:. London. 18 December 2009. 3946:. Vol. 400. p. 24. 2268:Schiefer, Karin (May 2005). 1688: 1627:Ebert added the film to his 1558:, Christopher Orr described 1421: 1418:DVD boxset in October 2009. 1416:The Essential Michael Haneke 1189:The Children Are Watching Us 1123:The Children Are Watching Us 961:Israeli–Palestinian conflict 7: 8736:2000s French-language films 8028:Distant Voices, Still Lives 6421:Tales from the Vienna Woods 5936:. Oxford University Press. 5559:. Oxford University Press. 5344:; Edelmann, Pascal (2007). 5237:World Film Locations: Paris 5189:Badt, Karin Luisa (2009). " 4979:. No. 858. p. 15. 1841: 1805:won the award for Austria. 353:international co-production 10: 8802: 8786:Les Films du Losange films 8676:Austrian independent films 8542:Blue Is the Warmest Colour 8285:Blue Is the Warmest Colour 8054:The Beautiful Troublemaker 7541:A Short Film About Killing 7020:Blue is the Warmest Colour 5842:Smith, William G. (2010). 5722:Film in the Post-Media Age 5492:Modern Austrian Literature 5235:Block, Marcelline (2011). 3234:Sinha & McSweeney 2012 2453:BFI Film & TV Database 1979:Best Foreign Language Film 1760:Best Foreign Language Film 1711: 1402:It was released on DVD in 1350: 1126:(1944) shares themes with 931:Themes and interpretations 902: 823: 700: 8766:Italian independent films 8448: 8155: 7871: 7535: 7450: 7359: 7268: 7177: 7150: 6929: 6876: 6823: 6391: 6343: 6304: 6282: 6261: 6130: 6108: 5861:Speck, Oliver C. (2010). 5720:". In Ágnes Pethő (ed.). 5429:10.1080/14797580802090950 5392:Nottingham French Studies 5118:"Film Review: 'The Gift'" 4002:Cowie & Edelmann 2007 2551:Montmayeur, Yves (2006). 1782: 1727:2005 Cannes Film Festival 1706:2005 Cannes Film Festival 1006:11 September 2001 attacks 734:National Liberation Front 368:2005 Cannes Film Festival 358:1961 Seine River massacre 295: 287: 279: 256: 246: 207: 197: 162: 145: 135: 84: 58: 50: 40: 35:Theatrical release poster 28: 23: 8756:German independent films 8746:French independent films 5667:Studies in French Cinema 5509:Studies in French Cinema 4087:"Caché: thriller intime" 3400:University of California 3116:University of Washington 2342:Haneke, Michael (2006). 2274:Austrian Film Commission 1863: 1218: 231:5 October 2005 8671:Austrian thriller films 8195:House of Flying Daggers 7226:Il Postino: The Postman 5928:Walker, Elsie (2017). " 5665:in the folds of time". 5296:10.1353/cj.2010.a405348 5158:The Wall Street Journal 4831:McCann & Sorfa 2012 4761:. BBC. 23 August 2016. 4455:San Francisco Chronicle 4315:"Hidden (Cache) (2006)" 2483:"Bim Distribuzione Srl" 1598:San Francisco Chronicle 1369:Telluride Film Festival 963:are depicted through a 421: 8661:2005 independent films 8574:BPM (Beats per Minute) 8325:BPM (Beats per Minute) 8265:City of Life and Death 7309:A Very Long Engagement 6114:Awards and nominations 5974:. Palgrave Macmillan. 5679:10.1386/sfci.7.2.131_1 5303:Celik, Ipek A (2015). 5057:The Hollywood Reporter 4787:The Hollywood Reporter 4733:British Film Institute 4259:The Hollywood Reporter 2806:British Film Institute 2518:The Hollywood Reporter 2457:British Film Institute 2397:British Film Institute 2043:British Film Institute 1959:In contrast, director 1709: 1584:'s detractors include 1526:The Hollywood Reporter 1373:New York Film Festival 1361:Sony Pictures Classics 1313:Michelangelo Antonioni 1233:British Film Institute 1229:psychological thriller 1203:and Anna and Georg in 1131: 1103: 982:historical revisionism 912: 795: 726: 716: 703:Paris massacre of 1961 674:Paris massacre of 1961 330:psychological thriller 8074:Farewell My Concubine 7549:Landscape in the Mist 7325:Letters from Iwo Jima 7159:Au revoir les enfants 6653:For a Moment, Freedom 6493:The Seventh Continent 6140:The Seventh Continent 5404:10.3366/nfs.2017.0169 5348:. Faber & Faber. 5228:10.1093/screen/hjm019 4419:The New York Observer 1891:The Seventh Continent 1696: 1590:The New York Observer 1477:alludes to layers of 1297:"idyllic". Professor 1120: 1098: 910: 786: 721: 710: 697:Historical background 216:14 May 2005 8731:Films shot in Vienna 8706:Films about stalking 8686:Films about adoption 8622:The Zone of Interest 8502:Let the Right One In 8185:The Man on the Train 8104:A Judgement in Stone 8044:Life and Nothing But 7483:The Zone of Interest 7341:Let the Right One In 7194:An Angel at My Table 6988:Let the Right One In 6858:In the Mood for Love 6485:Undiscovered Country 6453:Just Behind the Door 6377:Austrian submissions 4976:Entertainment Weekly 4806:Cannes Film Festival 4266:on 14 November 2005. 2812:on 11 September 2016 2612:"The Binoche Effect" 2015:. 21 November 2005. 1735:European Film Awards 1357:Cannes Film Festival 1192:has similar themes. 828:Haneke stated that " 810:Les Films du Losange 396:European Film Awards 202:Les Films du Losange 8726:Films shot in Paris 8470:Maria Full of Grace 8454:And Your Mother Too 8215:The Lives of Others 8175:And Your Mother Too 8134:All About My Mother 7966:Fanny and Alexander 7813:Triangle of Sadness 7685:The Lives of Others 7629:All About My Mother 7573:The Stolen Children 7258:All About My Mother 6972:The Lives of Others 6842:All About My Mother 6501:Requiem for Dominic 6292:Lumière and Company 5307:. Intellect Books. 4739:on 7 September 2015 4630:The Daily Telegraph 4448:(27 January 2006). 4280:(12 January 2006). 3451:, pp. 227–231. 3402:. 1964. p. 175 3359:, pp. 131–141. 3248:, pp. 193–194. 3025:, pp. 271–272. 3013:, pp. 193–194. 3001:, pp. 125–151. 2837:(27 January 2006). 2559:(DVD) (in French). 2350:(DVD) (in French). 1834:as an influence on 1764:78th Academy Awards 1655:The Daily Telegraph 1180:Italian neo-realism 1150:, the French title 1047:Friedrich Nietzsche 8781:2000s German films 8776:2000s French films 8721:Films set in Paris 8691:Films about memory 8666:Algerian War films 8084:Three Colours: Red 7982:The Official Story 7637:Dancer in the Dark 7605:Breaking the Waves 7392:The Act of Killing 7218:Three Colours: Red 6903:The Straight Story 6725:The Waldheim Waltz 6637:The Counterfeiters 6405:Moss on the Stones 4944:Deadline Hollywood 4883:The New York Times 4193:Les Inrockuptibles 3902:The New York Times 3805:The New York Times 3736:The New York Times 3049:, pp. 91–108. 2423:"Wega-Film Vienna" 2403:on 22 January 2018 1710: 1653:was named 44th in 1609:The Chicago Reader 1508:Les Inrockuptibles 1465:Pablo Bunuille of 1450:Critical reception 1432:by 24 March 2006. 1395:, under the title 1142:– 'the gaze'", as 1132: 1054:a camera diaphragm 913: 717: 16:2005 European film 8638: 8637: 8632: 8631: 8614:Decision to Leave 8408: 8407: 8397:Anatomy of a Fall 8008:Goodbye, Children 7921:Soldier of Orange 7831: 7830: 7821:Anatomy of a Fall 7621:Life Is Beautiful 7493: 7492: 7475:Decision to Leave 7293:Y tu mamá también 7250:Life Is Beautiful 7110: 7109: 7100:Anatomy of a Fall 6980:Waltz with Bashir 6877:English Language 6824:Foreign Language 6783: 6782: 6629:You Bet Your Life 6589:The Piano Teacher 6477:Welcome in Vienna 6325: 6324: 6190:The Piano Teacher 5981:978-1-84457-572-5 5962:978-1-84545-557-6 5943:978-0-19-049590-9 5891:978-1-4384-6653-8 5872:978-1-4411-9285-1 5853:978-0-7864-5685-7 5834:978-0-231-85001-8 5815:978-0-8143-3405-8 5806:On Michael Haneke 5796:978-0-8101-3461-4 5773:978-1-137-38815-5 5754:978-1-317-98667-6 5731:978-1-4438-3872-6 5708:978-0-8143-3405-8 5699:On Michael Haneke 5695:Peucker, Brigitte 5649:978-0-231-50465-2 5630:978-0-8143-3405-8 5621:On Michael Haneke 5607:978-1-101-60955-2 5585:978-0-8143-3405-8 5576:On Michael Haneke 5566:978-1-5261-1360-3 5547:978-1-134-55015-9 5478:978-0-7486-5647-9 5459:978-0-231-85001-8 5378:978-0-8143-3405-8 5369:On Michael Haneke 5355:978-0-571-23529-2 5333:978-0-7486-8882-1 5314:978-0-472-05272-1 5268:978-0-252-03531-9 5246:978-1-84150-561-9 5204:978-1-84331-313-7 4911:Los Angeles Times 3834:Sight & Sound 3680:, pp. 12–13. 3439:, pp. 49–50. 3347:, pp. 48–49. 3061:, pp. 82–97. 3037:, pp. 19–38. 2986:, pp. 18–19. 2650:, pp. 74–75. 1789:2005 French riots 1773:The Piano Teacher 1745:Dardenne brothers 1721:competed for the 1678:Sight & Sound 1596:donkeys". In the 1487:François Truffaut 1337:The Piano Teacher 1113:Character studies 1028:(1974), but that 1010:mass surveillance 990:Jean-Marie Le Pen 942:collective memory 888:The Piano Teacher 736:responded to the 713:Pont Saint-Michel 662: 661: 544:Georges's mother 499:Lester Makedonsky 376:collective memory 319:), also known as 303: 302: 8793: 8435: 8428: 8421: 8412: 8411: 8401: 8391: 8381: 8371: 8361: 8351: 8335: 8319: 8309: 8299: 8289: 8279: 8269: 8259: 8249: 8239: 8229: 8219: 8209: 8199: 8189: 8179: 8169: 8148: 8138: 8128: 8118: 8108: 8098: 8088: 8078: 8068: 8058: 8048: 8038: 8022: 8012: 8002: 7992: 7976: 7960: 7950: 7940: 7930: 7925: 7915: 7905: 7895: 7885: 7858: 7851: 7844: 7835: 7834: 7805:Quo Vadis, Aida? 7741:The Great Beauty 7717:The Ghost Writer 7709:The White Ribbon 7661:Good Bye, Lenin! 7597:Land and Freedom 7529: 7520: 7513: 7506: 7497: 7496: 7349:The White Ribbon 7137: 7130: 7123: 7114: 7113: 6810: 6803: 6796: 6787: 6786: 6773:The Devil's Bath 6370: 6363: 6356: 6347: 6346: 6329: 6328: 6318: 6297: 6275: 6254: 6244: 6234: 6230:The White Ribbon 6224: 6214: 6204: 6200:Time of the Wolf 6194: 6184: 6174: 6164: 6154: 6144: 6123: 6116: 6095: 6088: 6081: 6072: 6071: 6067: 6051: 6035: 6019: 6002: 6001: 5999:Official website 5985: 5966: 5947: 5924: 5895: 5876: 5857: 5838: 5819: 5800: 5777: 5758: 5735: 5712: 5690: 5653: 5634: 5611: 5589: 5570: 5551: 5532: 5499: 5482: 5463: 5440: 5407: 5382: 5359: 5337: 5318: 5299: 5272: 5250: 5231: 5208: 5175: 5174: 5172: 5170: 5154: 5146: 5140: 5139: 5137: 5135: 5113: 5107: 5106: 5104: 5102: 5080: 5074: 5073: 5071: 5069: 5047: 5041: 5035: 5029: 5023: 5014: 5013: 5011: 5009: 4987: 4981: 4980: 4970: 4961: 4960: 4958: 4956: 4934: 4928: 4927: 4925: 4923: 4901: 4895: 4894: 4892: 4890: 4873: 4867: 4866: 4864: 4862: 4840: 4834: 4828: 4822: 4821: 4819: 4817: 4798: 4792: 4791: 4781: 4775: 4774: 4772: 4770: 4755: 4749: 4748: 4746: 4744: 4735:. 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2133: 2123: 2121: 2113:Box Office Mojo 2106: 2105: 2098: 2088: 2086: 2069: 2062: 2052: 2050: 2049:on 15 July 2017 2037: 2036: 2032: 2022: 2020: 2001: 2000: 1996: 1991: 1986: 1985: 1972: 1968: 1958: 1954: 1945: 1941: 1927: 1923: 1887: 1880: 1875: 1871: 1866: 1844: 1785: 1716: 1691: 1664: 1657: 1620:writes that in 1604: 1550: 1528: 1455:Rotten Tomatoes 1452: 1443: 1429: 1424: 1389:UK Film Council 1353: 1344:Barbara Contini 1294: 1293: 1292: 1291: 1273: 1272: 1271: 1262: 1261: 1260: 1221: 1115: 1089:Pan's Labyrinth 1002: 944:and guilt over 938: 933: 905: 870: 826: 803:Denis Podalydès 777: 705: 699: 694: 648:Philippe Besson 646: 645: 627: 626: 610:Denis Podalydès 608: 607: 589: 588: 582:Georges's boss 570: 569: 551: 550: 532: 531: 515: 514: 498: 497: 479: 478: 460: 459: 441: 440: 424: 311: 275: 249: 242: 234: 232: 219: 217: 210: 193: 192: 175:France 3 Cinéma 167: 165: 158: 152:Michael Hudecek 131: 127:Denis Podalydès 80: 66:Veit Heiduschka 36: 17: 12: 11: 5: 8799: 8789: 8788: 8783: 8778: 8773: 8768: 8763: 8758: 8753: 8748: 8743: 8738: 8733: 8728: 8723: 8718: 8713: 8708: 8703: 8698: 8693: 8688: 8683: 8678: 8673: 8668: 8663: 8658: 8653: 8636: 8635: 8630: 8629: 8627: 8626: 8618: 8610: 8602: 8594: 8586: 8578: 8570: 8566:The Handmaiden 8562: 8554: 8546: 8538: 8530: 8526:Certified Copy 8522: 8514: 8506: 8498: 8490: 8482: 8474: 8466: 8458: 8449: 8446: 8445: 8438: 8437: 8430: 8423: 8415: 8406: 8405: 8403: 8402: 8392: 8382: 8372: 8362: 8357:Pain and Glory 8352: 8336: 8320: 8315:The Handmaiden 8310: 8300: 8290: 8280: 8270: 8260: 8250: 8240: 8230: 8220: 8210: 8200: 8190: 8180: 8170: 8159: 8157: 8153: 8152: 8150: 8149: 8139: 8129: 8119: 8109: 8099: 8089: 8079: 8069: 8059: 8049: 8039: 8034:Story of Women 8023: 8013: 8003: 7993: 7977: 7972:The Fourth Man 7961: 7951: 7941: 7931: 7926: 7916: 7906: 7896: 7886: 7875: 7873: 7869: 7868: 7861: 7860: 7853: 7846: 7838: 7829: 7828: 7826: 7825: 7817: 7809: 7801: 7793: 7785: 7777: 7769: 7761: 7753: 7745: 7737: 7729: 7721: 7713: 7705: 7697: 7689: 7681: 7673: 7665: 7657: 7649: 7641: 7633: 7625: 7617: 7613:The Full Monty 7609: 7601: 7593: 7585: 7577: 7569: 7561: 7553: 7545: 7536: 7533: 7532: 7523: 7522: 7515: 7508: 7500: 7491: 7490: 7488: 7487: 7479: 7471: 7463: 7454: 7452: 7448: 7447: 7445: 7444: 7436: 7428: 7420: 7416:The Handmaiden 7412: 7404: 7396: 7388: 7380: 7372: 7363: 7361: 7357: 7356: 7354: 7353: 7345: 7337: 7329: 7321: 7313: 7305: 7297: 7289: 7281: 7272: 7270: 7266: 7265: 7263: 7262: 7254: 7246: 7238: 7230: 7222: 7214: 7206: 7198: 7190: 7181: 7179: 7175: 7174: 7172: 7171: 7163: 7154: 7152: 7148: 7147: 7140: 7139: 7132: 7125: 7117: 7108: 7107: 7105: 7104: 7096: 7088: 7080: 7072: 7064: 7056: 7048: 7040: 7032: 7024: 7016: 7008: 7000: 6992: 6984: 6976: 6968: 6960: 6952: 6944: 6935: 6933: 6932:(2003–present) 6930:International 6927: 6926: 6924: 6923: 6915: 6907: 6899: 6891: 6882: 6880: 6874: 6873: 6871: 6870: 6862: 6854: 6846: 6838: 6834:The Appartment 6829: 6827: 6821: 6820: 6813: 6812: 6805: 6798: 6790: 6781: 6780: 6778: 6777: 6769: 6761: 6753: 6745: 6741:What We Wanted 6737: 6729: 6721: 6713: 6705: 6697: 6689: 6681: 6673: 6665: 6657: 6649: 6641: 6633: 6625: 6617: 6609: 6601: 6593: 6585: 6577: 6569: 6565:The Inheritors 6561: 6553: 6545: 6537: 6529: 6521: 6513: 6505: 6497: 6489: 6481: 6473: 6465: 6457: 6449: 6441: 6433: 6425: 6417: 6413:I Want to Live 6409: 6401: 6392: 6389: 6388: 6373: 6372: 6365: 6358: 6350: 6344: 6341: 6340: 6323: 6322: 6320: 6319: 6308: 6306: 6302: 6301: 6299: 6298: 6286: 6284: 6280: 6279: 6277: 6276: 6265: 6263: 6259: 6258: 6256: 6255: 6245: 6235: 6225: 6215: 6205: 6195: 6185: 6175: 6165: 6155: 6145: 6134: 6132: 6128: 6127: 6125: 6124: 6117: 6109: 6106: 6105: 6102:Michael Haneke 6098: 6097: 6090: 6083: 6075: 6069: 6068: 6052: 6036: 6020: 6003: 5992: 5991:External links 5989: 5987: 5986: 5980: 5972:Cache (Hidden) 5967: 5961: 5948: 5942: 5925: 5896: 5890: 5877: 5871: 5858: 5852: 5839: 5833: 5820: 5814: 5801: 5795: 5778: 5772: 5759: 5753: 5736: 5730: 5713: 5707: 5691: 5673:(2): 131–141. 5654: 5648: 5635: 5629: 5612: 5606: 5590: 5584: 5571: 5565: 5552: 5546: 5533: 5500: 5483: 5477: 5464: 5458: 5441: 5408: 5383: 5377: 5360: 5354: 5338: 5332: 5319: 5313: 5300: 5283:Cinema Journal 5273: 5267: 5259:Michael Haneke 5251: 5245: 5232: 5222:(2): 227–231. 5209: 5203: 5191:Caché (Hidden) 5185: 5183: 5180: 5177: 5176: 5141: 5108: 5075: 5042: 5040:, p. 131. 5030: 5015: 4982: 4962: 4929: 4896: 4868: 4835: 4833:, p. 271. 4823: 4793: 4776: 4750: 4716: 4680: 4648: 4615: 4589: 4577: 4559:Rogerebert.com 4544: 4531:Slant Magazine 4516: 4504:Chicago Reader 4490: 4473: 4437: 4404: 4386:Film Quarterly 4371: 4336: 4305: 4287:Rogerebert.com 4269: 4244: 4221:"Cache (2005)" 4211: 4178: 4146: 4128:Rogerebert.com 4110: 4074: 4042: 4015:"Cache (2005)" 4006: 4004:, p. xiv. 3994: 3992:, p. 202. 3982: 3949: 3932: 3930:, p. 201. 3920: 3918:, p. 197. 3908: 3891: 3855: 3853:, p. 194. 3840: 3823: 3787: 3754: 3721: 3719:, p. 187. 3709: 3694: 3682: 3670: 3658: 3643: 3631: 3619: 3607: 3605:, p. 186. 3592: 3580: 3568: 3534: 3498: 3465: 3463:, p. 180. 3461:Coulthard 2011 3453: 3441: 3429: 3427:, p. 195. 3417: 3385: 3373: 3371:, p. 104. 3361: 3349: 3337: 3335:, p. 217. 3325: 3313: 3301: 3289: 3287:, p. 106. 3277: 3275:, p. 105. 3265: 3263:, p. 194. 3250: 3238: 3226: 3224:, p. 193. 3211: 3209:, p. 108. 3199: 3197:, p. 193. 3187: 3172: 3170:, p. 194. 3157: 3145: 3143:, p. 100. 3133: 3099: 3087: 3075: 3063: 3051: 3039: 3035:Gallagher 2008 3027: 3015: 3003: 2988: 2969: 2957: 2945: 2930: 2918: 2906: 2894: 2879: 2862: 2823: 2786: 2784:, p. 123. 2774: 2762: 2747: 2735: 2733:, p. 127. 2723: 2708: 2688: 2652: 2635: 2617:Slate Magazine 2602: 2566: 2536: 2503: 2487:Bloomberg L.P. 2474: 2449:"Bavaria-Film" 2440: 2414: 2384: 2382:, p. 136. 2369: 2367:, p. 123. 2357: 2331: 2291: 2255: 2238: 2226: 2224:, p. 270. 2214: 2212:, p. 271. 2199: 2184: 2182:, p. 185. 2172: 2170:, p. 142. 2160: 2158:, p. 267. 2143: 2131: 2096: 2060: 2039:"Caché (2004)" 2030: 1993: 1992: 1990: 1987: 1984: 1983: 1966: 1952: 1948:Vladimir Lenin 1939: 1921: 1878: 1868: 1867: 1865: 1862: 1861: 1860: 1855: 1850: 1843: 1840: 1784: 1781: 1768:Michael Barker 1712:Main article: 1698:Michael Haneke 1690: 1687: 1641:Leonard Maltin 1618:Slant Magazine 1565:Film Quarterly 1504:Annie Girardot 1451: 1448: 1428: 1425: 1423: 1420: 1391:also approved 1385:Artificial Eye 1352: 1349: 1275: 1274: 1265: 1264: 1263: 1254: 1253: 1252: 1251: 1250: 1220: 1217: 1144:psychoanalysis 1114: 1111: 1001: 998: 994:National Front 937: 934: 932: 929: 917:tracking shots 904: 901: 883:Annie Girardot 830:Daniel Auteuil 825: 822: 782:thriller genre 776: 773: 742:France's Arabs 740:'s attacks on 698: 695: 693: 690: 660: 659: 656: 653: 641: 640: 637: 634: 622: 621: 618: 615: 603: 602: 599: 596: 584: 583: 580: 577: 572:Bernard Le Coq 565: 564: 561: 558: 546: 545: 542: 539: 534:Annie Girardot 527: 526: 523: 520: 510: 509: 506: 503: 493: 492: 489: 486: 474: 473: 470: 467: 455: 454: 451: 448: 443:Daniel Auteuil 436: 435: 432: 430: 423: 420: 366:opened at the 338:Daniel Auteuil 334:Michael Haneke 316:[kaʃe] 301: 300: 299:$ 16.2 million 297: 293: 292: 289: 285: 284: 281: 277: 276: 274: 273: 270: 267: 264: 260: 258: 254: 253: 250: 247: 244: 243: 241: 240: 229: 213: 211: 208: 205: 204: 199: 198:Distributed by 195: 194: 191: 190: 187: 182: 177: 171: 170: 168: 163: 160: 159: 157: 156: 153: 149: 147: 143: 142: 137: 136:Cinematography 133: 132: 130: 129: 124: 119: 114: 112:Bernard Le Coq 109: 107:Annie Girardot 104: 99: 94: 92:Daniel Auteuil 88: 86: 82: 81: 79: 78: 73: 68: 62: 60: 56: 55: 54:Michael Haneke 52: 48: 47: 45:Michael Haneke 42: 38: 37: 34: 26: 25: 15: 9: 6: 4: 3: 2: 8798: 8787: 8784: 8782: 8779: 8777: 8774: 8772: 8769: 8767: 8764: 8762: 8759: 8757: 8754: 8752: 8749: 8747: 8744: 8742: 8739: 8737: 8734: 8732: 8729: 8727: 8724: 8722: 8719: 8717: 8714: 8712: 8709: 8707: 8704: 8702: 8699: 8697: 8694: 8692: 8689: 8687: 8684: 8682: 8679: 8677: 8674: 8672: 8669: 8667: 8664: 8662: 8659: 8657: 8654: 8652: 8649: 8648: 8646: 8624: 8623: 8619: 8616: 8615: 8611: 8608: 8607: 8603: 8600: 8599: 8598:Another Round 8595: 8592: 8591: 8587: 8584: 8583: 8579: 8576: 8575: 8571: 8568: 8567: 8563: 8560: 8559: 8555: 8552: 8551: 8547: 8544: 8543: 8539: 8536: 8535: 8531: 8528: 8527: 8523: 8520: 8519: 8515: 8512: 8511: 8507: 8504: 8503: 8499: 8496: 8495: 8491: 8488: 8487: 8483: 8480: 8479: 8475: 8472: 8471: 8467: 8464: 8463: 8459: 8456: 8455: 8451: 8450: 8447: 8443: 8436: 8431: 8429: 8424: 8422: 8417: 8416: 8413: 8399: 8398: 8393: 8389: 8388: 8383: 8379: 8378: 8373: 8369: 8368: 8363: 8359: 8358: 8353: 8349: 8348: 8343: 8342: 8337: 8333: 8332: 8327: 8326: 8321: 8317: 8316: 8311: 8307: 8306: 8301: 8297: 8296: 8291: 8287: 8286: 8281: 8277: 8276: 8271: 8267: 8266: 8261: 8257: 8256: 8251: 8247: 8246: 8241: 8237: 8236: 8231: 8227: 8226: 8221: 8217: 8216: 8211: 8207: 8206: 8201: 8197: 8196: 8191: 8187: 8186: 8181: 8177: 8176: 8171: 8167: 8166: 8165:No Man's Land 8161: 8160: 8158: 8154: 8146: 8145: 8140: 8136: 8135: 8130: 8126: 8125: 8120: 8116: 8115: 8110: 8106: 8105: 8100: 8096: 8095: 8090: 8086: 8085: 8080: 8076: 8075: 8070: 8066: 8065: 8060: 8056: 8055: 8050: 8046: 8045: 8040: 8036: 8035: 8030: 8029: 8024: 8020: 8019: 8014: 8010: 8009: 8004: 8000: 7999: 7994: 7990: 7989: 7984: 7983: 7978: 7974: 7973: 7968: 7967: 7962: 7958: 7957: 7952: 7948: 7947: 7942: 7938: 7937: 7932: 7927: 7923: 7922: 7917: 7913: 7912: 7907: 7903: 7902: 7897: 7893: 7892: 7887: 7883: 7882: 7877: 7876: 7874: 7870: 7866: 7859: 7854: 7852: 7847: 7845: 7840: 7839: 7836: 7823: 7822: 7818: 7815: 7814: 7810: 7807: 7806: 7802: 7799: 7798: 7797:Another Round 7794: 7791: 7790: 7789:The Favourite 7786: 7783: 7782: 7778: 7775: 7774: 7770: 7767: 7766: 7762: 7759: 7758: 7754: 7751: 7750: 7746: 7743: 7742: 7738: 7735: 7734: 7730: 7727: 7726: 7722: 7719: 7718: 7714: 7711: 7710: 7706: 7703: 7702: 7698: 7695: 7694: 7690: 7687: 7686: 7682: 7679: 7678: 7674: 7671: 7670: 7666: 7663: 7662: 7658: 7655: 7654: 7650: 7647: 7646: 7642: 7639: 7638: 7634: 7631: 7630: 7626: 7623: 7622: 7618: 7615: 7614: 7610: 7607: 7606: 7602: 7599: 7598: 7594: 7591: 7590: 7586: 7583: 7582: 7581:Close to Eden 7578: 7575: 7574: 7570: 7567: 7566: 7562: 7559: 7558: 7554: 7551: 7550: 7546: 7543: 7542: 7538: 7537: 7534: 7530: 7521: 7516: 7514: 7509: 7507: 7502: 7501: 7498: 7485: 7484: 7480: 7477: 7476: 7472: 7469: 7468: 7464: 7461: 7460: 7459:Another Round 7456: 7455: 7453: 7449: 7442: 7441: 7437: 7434: 7433: 7429: 7426: 7425: 7421: 7418: 7417: 7413: 7410: 7409: 7405: 7402: 7401: 7400:Force Majeure 7397: 7394: 7393: 7389: 7386: 7385: 7381: 7378: 7377: 7373: 7370: 7369: 7365: 7364: 7362: 7358: 7351: 7350: 7346: 7343: 7342: 7338: 7335: 7334: 7330: 7327: 7326: 7322: 7319: 7318: 7314: 7311: 7310: 7306: 7303: 7302: 7298: 7295: 7294: 7290: 7287: 7286: 7282: 7279: 7278: 7274: 7273: 7271: 7267: 7260: 7259: 7255: 7252: 7251: 7247: 7244: 7243: 7239: 7236: 7235: 7231: 7228: 7227: 7223: 7220: 7219: 7215: 7212: 7211: 7207: 7204: 7203: 7199: 7196: 7195: 7191: 7188: 7187: 7183: 7182: 7180: 7176: 7169: 7168: 7164: 7161: 7160: 7156: 7155: 7153: 7149: 7145: 7138: 7133: 7131: 7126: 7124: 7119: 7118: 7115: 7102: 7101: 7097: 7094: 7093: 7089: 7086: 7085: 7081: 7078: 7077: 7073: 7070: 7069: 7065: 7062: 7061: 7057: 7054: 7053: 7049: 7046: 7045: 7041: 7038: 7037: 7033: 7030: 7029: 7025: 7022: 7021: 7017: 7014: 7013: 7009: 7006: 7005: 7001: 6998: 6997: 6993: 6990: 6989: 6985: 6982: 6981: 6977: 6974: 6973: 6969: 6966: 6965: 6961: 6958: 6957: 6953: 6950: 6949: 6945: 6942: 6941: 6937: 6936: 6934: 6928: 6921: 6920: 6916: 6913: 6912: 6908: 6905: 6904: 6900: 6897: 6896: 6892: 6889: 6888: 6887:Boogie Nights 6884: 6883: 6881: 6875: 6868: 6867: 6863: 6860: 6859: 6855: 6852: 6851: 6847: 6844: 6843: 6839: 6836: 6835: 6831: 6830: 6828: 6822: 6818: 6811: 6806: 6804: 6799: 6797: 6792: 6791: 6788: 6775: 6774: 6770: 6767: 6766: 6762: 6759: 6758: 6754: 6751: 6750: 6749:Great Freedom 6746: 6743: 6742: 6738: 6735: 6734: 6730: 6727: 6726: 6722: 6719: 6718: 6714: 6711: 6710: 6706: 6703: 6702: 6698: 6695: 6694: 6690: 6687: 6686: 6682: 6679: 6678: 6674: 6671: 6670: 6666: 6663: 6662: 6658: 6655: 6654: 6650: 6647: 6646: 6642: 6639: 6638: 6634: 6631: 6630: 6626: 6623: 6622: 6618: 6615: 6614: 6610: 6607: 6606: 6605:Free Radicals 6602: 6599: 6598: 6594: 6591: 6590: 6586: 6583: 6582: 6578: 6575: 6574: 6570: 6567: 6566: 6562: 6559: 6558: 6554: 6551: 6550: 6546: 6543: 6542: 6538: 6535: 6534: 6530: 6527: 6526: 6522: 6519: 6518: 6517:Benny's Video 6514: 6511: 6510: 6509:I Love Vienna 6506: 6503: 6502: 6498: 6495: 6494: 6490: 6487: 6486: 6482: 6479: 6478: 6474: 6471: 6470: 6466: 6463: 6462: 6458: 6455: 6454: 6450: 6447: 6446: 6442: 6439: 6438: 6434: 6431: 6430: 6426: 6423: 6422: 6418: 6415: 6414: 6410: 6407: 6406: 6402: 6399: 6398: 6394: 6393: 6390: 6386: 6382: 6381:Academy Award 6378: 6371: 6366: 6364: 6359: 6357: 6352: 6351: 6348: 6342: 6338: 6337: 6330: 6316: 6315: 6310: 6309: 6307: 6303: 6295: 6293: 6288: 6287: 6285: 6281: 6273: 6272: 6267: 6266: 6264: 6260: 6252: 6251: 6246: 6242: 6241: 6236: 6232: 6231: 6226: 6222: 6221: 6216: 6212: 6211: 6206: 6202: 6201: 6196: 6192: 6191: 6186: 6182: 6181: 6176: 6172: 6171: 6166: 6162: 6161: 6156: 6152: 6151: 6150:Benny's Video 6146: 6142: 6141: 6136: 6135: 6133: 6131:Feature films 6129: 6122: 6118: 6115: 6111: 6110: 6107: 6103: 6096: 6091: 6089: 6084: 6082: 6077: 6076: 6073: 6066: 6062: 6058: 6057: 6053: 6050: 6046: 6042: 6041: 6037: 6034: 6030: 6026: 6025: 6021: 6018: 6013: 6009: 6008: 6004: 6000: 5995: 5994: 5983: 5977: 5973: 5968: 5964: 5958: 5954: 5949: 5945: 5939: 5935: 5931: 5926: 5922: 5918: 5914: 5910: 5906: 5902: 5897: 5893: 5887: 5883: 5878: 5874: 5868: 5864: 5859: 5855: 5849: 5845: 5840: 5836: 5830: 5826: 5821: 5817: 5811: 5807: 5802: 5798: 5792: 5788: 5784: 5779: 5775: 5769: 5765: 5760: 5756: 5750: 5746: 5742: 5737: 5733: 5727: 5723: 5719: 5714: 5710: 5704: 5700: 5696: 5692: 5688: 5684: 5680: 5676: 5672: 5668: 5664: 5660: 5655: 5651: 5645: 5641: 5636: 5632: 5626: 5622: 5618: 5613: 5609: 5603: 5599: 5595: 5591: 5587: 5581: 5577: 5572: 5568: 5562: 5558: 5553: 5549: 5543: 5539: 5534: 5530: 5526: 5522: 5518: 5515:(1): 91–108. 5514: 5510: 5506: 5501: 5497: 5493: 5489: 5484: 5480: 5474: 5470: 5465: 5461: 5455: 5451: 5447: 5442: 5438: 5434: 5430: 5426: 5422: 5418: 5414: 5409: 5405: 5401: 5397: 5393: 5389: 5384: 5380: 5374: 5370: 5366: 5361: 5357: 5351: 5347: 5343: 5339: 5335: 5329: 5325: 5320: 5316: 5310: 5306: 5301: 5297: 5293: 5289: 5285: 5284: 5279: 5274: 5270: 5264: 5260: 5256: 5252: 5248: 5242: 5238: 5233: 5229: 5225: 5221: 5217: 5216: 5210: 5206: 5200: 5196: 5192: 5187: 5186: 5164: 5160: 5159: 5153: 5145: 5129: 5125: 5124: 5119: 5112: 5096: 5092: 5091: 5086: 5079: 5063: 5059: 5058: 5053: 5046: 5039: 5034: 5027: 5022: 5020: 5003: 4999: 4998: 4993: 4986: 4978: 4977: 4969: 4967: 4950: 4946: 4945: 4940: 4933: 4917: 4913: 4912: 4907: 4900: 4885: 4884: 4879: 4872: 4856: 4852: 4851: 4846: 4839: 4832: 4827: 4811: 4807: 4803: 4797: 4789: 4788: 4780: 4764: 4760: 4754: 4738: 4734: 4730: 4728: 4720: 4704: 4700: 4699: 4694: 4692: 4684: 4668: 4664: 4663: 4658: 4652: 4636: 4632: 4631: 4626: 4619: 4603: 4599: 4593: 4586: 4581: 4565: 4561: 4560: 4555: 4548: 4533: 4532: 4527: 4520: 4505: 4501: 4494: 4486: 4485: 4477: 4461: 4457: 4456: 4451: 4447: 4446:LaSalle, Mick 4441: 4425: 4421: 4420: 4415: 4408: 4392: 4388: 4387: 4382: 4375: 4359: 4355: 4351: 4349: 4340: 4324: 4320: 4316: 4309: 4293: 4289: 4288: 4283: 4279: 4273: 4265: 4261: 4260: 4255: 4248: 4232: 4228: 4227: 4222: 4215: 4199: 4196:(in French). 4195: 4194: 4189: 4182: 4166: 4162: 4161: 4156: 4150: 4134: 4130: 4129: 4124: 4117: 4115: 4098: 4095:(in French). 4094: 4093: 4088: 4081: 4079: 4062: 4058: 4057: 4052: 4046: 4030: 4026: 4022: 4021: 4016: 4010: 4003: 3998: 3991: 3990:Wheatley 2009 3986: 3970: 3966: 3965: 3960: 3953: 3945: 3944: 3936: 3929: 3924: 3917: 3912: 3904: 3903: 3895: 3879: 3875: 3874: 3869: 3862: 3860: 3852: 3847: 3845: 3836: 3835: 3827: 3811: 3807: 3806: 3801: 3794: 3792: 3775: 3771: 3770: 3765: 3758: 3742: 3738: 3737: 3732: 3725: 3718: 3713: 3707:, p. 83. 3706: 3701: 3699: 3691: 3690:Wheatley 2012 3686: 3679: 3678:Wheatley 2012 3674: 3668:, p. 28. 3667: 3662: 3656:, p. 80. 3655: 3650: 3648: 3641:, p. 30. 3640: 3635: 3629:, p. 29. 3628: 3623: 3617:, p. 12. 3616: 3615:Wheatley 2012 3611: 3604: 3599: 3597: 3590:, p. 33. 3589: 3588:Wheatley 2012 3584: 3578:, p. 54. 3577: 3572: 3556: 3552: 3548: 3541: 3539: 3522: 3518: 3517: 3512: 3505: 3503: 3486: 3482: 3481: 3476: 3469: 3462: 3457: 3450: 3445: 3438: 3437:Wheatley 2012 3433: 3426: 3425:Gavarini 2012 3421: 3413: 3401: 3398:(in French). 3397: 3396: 3389: 3383:, p. 95. 3382: 3377: 3370: 3365: 3358: 3353: 3346: 3345:Wheatley 2012 3341: 3334: 3333:Sharrett 2010 3329: 3323:, p. 31. 3322: 3321:Wheatley 2012 3317: 3311:, p. 99. 3310: 3305: 3299:, p. 35. 3298: 3297:Wheatley 2012 3293: 3286: 3281: 3274: 3269: 3262: 3261:Gavarini 2012 3257: 3255: 3247: 3246:Gavarini 2012 3242: 3235: 3230: 3223: 3222:Gavarini 2012 3218: 3216: 3208: 3203: 3196: 3195:Pieldner 2012 3191: 3185:, p. 32. 3184: 3183:Wheatley 2012 3179: 3177: 3169: 3168:Pieldner 2012 3164: 3162: 3155:, p. 97. 3154: 3149: 3142: 3137: 3121: 3117: 3113: 3106: 3104: 3097:, p. 26. 3096: 3091: 3085:, p. 25. 3084: 3079: 3073:, p. 61. 3072: 3067: 3060: 3055: 3048: 3043: 3036: 3031: 3024: 3019: 3012: 3011:Kilbourn 2013 3007: 3000: 2995: 2993: 2985: 2984:Radstone 2013 2980: 2978: 2976: 2974: 2967:, p. 60. 2966: 2961: 2955:, p. 59. 2954: 2949: 2943:, p. 66. 2942: 2937: 2935: 2928:, p. 79. 2927: 2922: 2916:, p. 63. 2915: 2914:Lawrence 2010 2910: 2904:, p. 76. 2903: 2898: 2892:, p. 74. 2891: 2890:Lawrence 2010 2886: 2884: 2875: 2874: 2866: 2850: 2846: 2845: 2840: 2836: 2830: 2828: 2811: 2807: 2803: 2797: 2795: 2793: 2791: 2783: 2778: 2772:, p. 94. 2771: 2766: 2760:, p. 75. 2759: 2758:Lawrence 2010 2754: 2752: 2745:, p. 50. 2744: 2743:Wheatley 2012 2739: 2732: 2727: 2721:, p. 71. 2720: 2715: 2713: 2704: 2703: 2702:Daily Variety 2695: 2693: 2676: 2672: 2671: 2666: 2659: 2657: 2649: 2648:Lawrence 2010 2644: 2642: 2640: 2623: 2619: 2618: 2613: 2606: 2590: 2587:(in French). 2586: 2585: 2580: 2573: 2571: 2562: 2558: 2554: 2547: 2545: 2543: 2541: 2524: 2520: 2519: 2514: 2507: 2491: 2488: 2484: 2478: 2462: 2458: 2454: 2450: 2444: 2428: 2425:. Wega-Film. 2424: 2418: 2402: 2398: 2394: 2388: 2381: 2376: 2374: 2366: 2365:Brunette 2010 2361: 2353: 2349: 2345: 2338: 2336: 2319: 2315: 2314: 2309: 2302: 2300: 2298: 2296: 2279: 2275: 2271: 2264: 2262: 2260: 2251: 2250: 2242: 2236:, p. 64. 2235: 2230: 2223: 2218: 2211: 2206: 2204: 2196: 2191: 2189: 2181: 2180:Wheatley 2009 2176: 2169: 2164: 2157: 2152: 2150: 2148: 2141:, p. 94. 2140: 2139:Wheatley 2012 2135: 2119: 2115: 2114: 2109: 2103: 2101: 2084: 2080: 2079: 2074: 2067: 2065: 2048: 2044: 2040: 2034: 2018: 2014: 2013: 2008: 2006: 1998: 1994: 1980: 1976: 1970: 1962: 1956: 1949: 1943: 1935: 1931: 1925: 1918: 1917: 1912: 1910: 1905: 1904: 1899: 1898: 1897:Benny's Video 1893: 1892: 1885: 1883: 1873: 1869: 1859: 1856: 1854: 1851: 1849: 1846: 1845: 1839: 1837: 1833: 1829: 1825: 1821: 1818:to a remake. 1817: 1816: 1811: 1810:Joel Edgerton 1806: 1804: 1803: 1796: 1794: 1790: 1780: 1778: 1774: 1769: 1765: 1761: 1756: 1754: 1750: 1746: 1742: 1741: 1736: 1732: 1731:Best Director 1728: 1724: 1720: 1715: 1707: 1703: 1702:Best Director 1699: 1695: 1686: 1684: 1680: 1679: 1674: 1670: 1663: 1656: 1652: 1648: 1644: 1642: 1638: 1634: 1630: 1625: 1623: 1619: 1614: 1610: 1603: 1599: 1595: 1591: 1587: 1586:Andrew Sarris 1583: 1579: 1577: 1576: 1571: 1567: 1566: 1561: 1557: 1549: 1545: 1541: 1536: 1532: 1527: 1523: 1519: 1518: 1513: 1509: 1505: 1501: 1500: 1495: 1490: 1488: 1484: 1480: 1476: 1475:cinéma vérité 1472: 1468: 1463: 1461: 1456: 1447: 1442: 1438: 1433: 1419: 1417: 1413: 1409: 1405: 1400: 1398: 1394: 1390: 1386: 1381: 1376: 1374: 1370: 1366: 1362: 1358: 1348: 1345: 1340: 1338: 1333: 1327: 1325: 1324:mise-en-scène 1320: 1318: 1314: 1310: 1309: 1304: 1300: 1289: 1288: 1283: 1279: 1269: 1258: 1249: 1245: 1242: 1238: 1234: 1230: 1226: 1216: 1214: 1210: 1206: 1202: 1197: 1193: 1191: 1190: 1185: 1181: 1177: 1176: 1171: 1170: 1163: 1159: 1157: 1153: 1149: 1145: 1141: 1137: 1136:Jacques Lacan 1129: 1125: 1124: 1119: 1110: 1108: 1102: 1097: 1095: 1091: 1090: 1085: 1084: 1079: 1078: 1073: 1072: 1067: 1061: 1059: 1055: 1050: 1048: 1044: 1040: 1036: 1031: 1027: 1026: 1021: 1020: 1015: 1011: 1007: 997: 995: 991: 987: 983: 977: 975: 971: 966: 962: 958: 953: 951: 947: 943: 928: 926: 920: 918: 909: 900: 898: 894: 890: 889: 884: 880: 874: 869: 865: 864: 859: 855: 850: 848: 847: 842: 838: 837: 831: 821: 819: 815: 812:, Wega-Film, 811: 806: 804: 798: 794: 792: 785: 783: 772: 770: 766: 762: 757: 755: 751: 750:Maurice Papon 747: 743: 739: 735: 731: 725: 720: 714: 709: 704: 689: 685: 682: 677: 675: 671: 666: 657: 654: 649: 643: 642: 638: 635: 630: 624: 623: 619: 616: 611: 605: 604: 600: 597: 592: 586: 585: 581: 578: 573: 567: 566: 562: 559: 554: 548: 547: 543: 540: 535: 529: 528: 524: 521: 512: 511: 507: 504: 495: 494: 490: 487: 482: 476: 475: 472:Anne Laurent 471: 468: 463: 457: 456: 452: 449: 444: 438: 437: 433: 431: 428: 427: 419: 417: 413: 409: 405: 404:other honours 401: 397: 393: 392:Best Director 388: 385: 381: 377: 373: 369: 365: 361: 359: 354: 349: 347: 343: 339: 336:and starring 335: 331: 328: 324: 323: 317: 309: 308: 298: 294: 290: 286: 282: 278: 271: 268: 265: 262: 261: 259: 255: 251: 245: 239: (France) 230: 227: 215: 214: 212: 209:Release dates 206: 203: 200: 196: 188: 186: 183: 181: 178: 176: 173: 172: 169: 161: 154: 151: 150: 148: 144: 141: 138: 134: 128: 125: 123: 120: 118: 115: 113: 110: 108: 105: 103: 100: 98: 95: 93: 90: 89: 87: 83: 77: 74: 72: 69: 67: 64: 63: 61: 57: 53: 49: 46: 43: 39: 32: 27: 22: 19: 8620: 8612: 8606:Drive My Car 8604: 8596: 8588: 8580: 8572: 8564: 8556: 8548: 8540: 8532: 8524: 8516: 8508: 8500: 8492: 8484: 8477: 8476: 8468: 8460: 8452: 8395: 8385: 8377:Petite Maman 8375: 8365: 8355: 8345: 8339: 8329: 8323: 8313: 8303: 8293: 8283: 8273: 8263: 8253: 8245:Summer Hours 8243: 8233: 8223: 8213: 8204: 8203: 8193: 8183: 8173: 8163: 8156:2001–present 8142: 8132: 8122: 8112: 8102: 8092: 8082: 8072: 8062: 8052: 8042: 8032: 8026: 8016: 8006: 7996: 7986: 7980: 7970: 7964: 7954: 7944: 7936:The Tin Drum 7934: 7919: 7909: 7899: 7891:Face to Face 7889: 7879: 7819: 7811: 7803: 7795: 7787: 7779: 7771: 7765:Toni Erdmann 7763: 7755: 7747: 7739: 7731: 7723: 7715: 7707: 7699: 7691: 7683: 7676: 7675: 7667: 7659: 7651: 7643: 7635: 7627: 7619: 7611: 7603: 7595: 7587: 7579: 7571: 7563: 7555: 7547: 7539: 7481: 7473: 7467:Drive My Car 7465: 7457: 7438: 7430: 7422: 7414: 7406: 7398: 7390: 7382: 7376:A Separation 7374: 7366: 7347: 7339: 7331: 7323: 7316: 7315: 7307: 7299: 7291: 7283: 7275: 7256: 7248: 7240: 7232: 7224: 7216: 7208: 7200: 7192: 7184: 7165: 7157: 7098: 7090: 7082: 7074: 7066: 7058: 7050: 7042: 7034: 7026: 7018: 7010: 7004:A Separation 7002: 6994: 6986: 6978: 6970: 6963: 6962: 6954: 6946: 6938: 6917: 6909: 6901: 6893: 6885: 6864: 6856: 6848: 6840: 6832: 6771: 6763: 6755: 6747: 6739: 6731: 6723: 6715: 6707: 6699: 6691: 6683: 6675: 6667: 6661:La Pivellina 6659: 6651: 6643: 6635: 6627: 6620: 6619: 6611: 6603: 6595: 6587: 6581:The Stranger 6579: 6571: 6563: 6555: 6547: 6539: 6531: 6523: 6515: 6507: 6499: 6491: 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Retrieved 4503: 4493: 4482: 4476: 4464:. Retrieved 4453: 4440: 4428:. Retrieved 4417: 4407: 4395:. Retrieved 4384: 4374: 4362:. Retrieved 4354:The Atlantic 4353: 4347: 4339: 4327:. Retrieved 4308: 4296:. Retrieved 4285: 4278:Ebert, Roger 4272: 4264:the original 4257: 4247: 4235:. Retrieved 4224: 4214: 4202:. Retrieved 4191: 4181: 4169:. Retrieved 4158: 4149: 4137:. Retrieved 4126: 4101:. Retrieved 4090: 4065:. Retrieved 4054: 4045: 4033:. Retrieved 4018: 4009: 3997: 3985: 3973:. Retrieved 3964:The Guardian 3962: 3952: 3941: 3935: 3923: 3911: 3900: 3894: 3882:. Retrieved 3871: 3832: 3826: 3814:. Retrieved 3803: 3778:. Retrieved 3767: 3757: 3745:. Retrieved 3734: 3724: 3712: 3692:, p. 8. 3685: 3673: 3666:Peucker 2010 3661: 3634: 3622: 3610: 3583: 3571: 3559:. Retrieved 3525:. Retrieved 3514: 3489:. Retrieved 3480:The Guardian 3478: 3468: 3456: 3449:Beugnet 2007 3444: 3432: 3420: 3412:Google Books 3410:– via 3404:. Retrieved 3394: 3388: 3376: 3364: 3357:Mecchia 2007 3352: 3340: 3328: 3316: 3304: 3292: 3280: 3268: 3241: 3236:, p. 1. 3229: 3202: 3190: 3148: 3136: 3124:. Retrieved 3090: 3078: 3066: 3054: 3047:Jørholt 2017 3042: 3030: 3023:Crowley 2010 3018: 3006: 2960: 2948: 2926:Steeves 2017 2921: 2909: 2902:Steeves 2017 2897: 2871: 2865: 2853:. Retrieved 2844:The Guardian 2842: 2814:. Retrieved 2810:the original 2777: 2765: 2738: 2726: 2705:. p. 7. 2700: 2679:. Retrieved 2668: 2626:. Retrieved 2615: 2605: 2593:. Retrieved 2582: 2556: 2552: 2527:. Retrieved 2516: 2506: 2494:. Retrieved 2477: 2465:. Retrieved 2461:the original 2452: 2443: 2431:. Retrieved 2417: 2405:. Retrieved 2401:the original 2387: 2360: 2347: 2343: 2322:. Retrieved 2313:The Guardian 2311: 2282:. Retrieved 2247: 2241: 2229: 2222:Crowley 2010 2217: 2210:Crowley 2010 2175: 2163: 2156:Crowley 2010 2134: 2122:. Retrieved 2111: 2087:. Retrieved 2078:Screen Daily 2076: 2051:. Retrieved 2047:the original 2033: 2021:. 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