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Thursday, November 23

(2005)  Haneke’s first box office hit in the U.S., CACHÉ follows the seemingly perfect modern couple, Georges (Daniel Auteuil), a television talk show host, and his wife Anne (Juliette Binoche). One day, their idyll is disrupted in the form of a mysterious videotape that appears on their doorstep. On it they are being filmed by a hidden camera from across the street with no clues as to who shot it, or why. As more tapes arrive containing images that are disturbingly intimate and increasingly personal, Georges launches into an investigation of his own as to who is behind this. As he does so, secrets from his past are revealed, and the walls of security he and Anne have built around themselves begin to crumble. Watch the last shot carefully. 35mm.


“Michael Haneke’s masterpiece: a compelling politico-psychological essay about the denial and guilt mixed into the foundations of western prosperity, composed and filmed with remarkable technique. It is one of the great films of this decade.”
– Peter Bradshaw, The Guardian

“Spectacularly intelligent…[a] suspenseful, gripping and emotionally affecting drama, with uniformly excellent performances. A film of many splendid ambiguities, the final shot being just the icing on the cake.”
– Geoff Andrew, Time Out

“The most Hitchcockian of Haneke's films… (The) best of his films because, this time, his obsessions are linked to a larger experience. As usual, the atmosphere of dread and cruelty, the sense that Haneke is toying with our fears, is omnipresent. But the psychological and political ramifications are far more complicated.”
– Peter Rainer, Christian Science Monitor

“(A) mind-blowing modern allegory in the exceedingly persuasive guise of an art-house thriller. This eighth feature from the 63-year-old writer-director represents his most cunning and elegant interlacing of the concepts that have long obsessed him—bourgeois complacency penetrated by strange invaders, the surfacing of subconscious guilt, the ripple effects of violence across generations, and above all, the implausibility of portraying truth in a medium built entirely on fabrication.”
– Joe McGovern, Slant