Haneke once said: "It is foolish for a director to try to interpret or analyze his own film." Whether it is a film or a novel, the close connection with the author is basically lost after completion. How to understand, inspire and feel everything from it It is handed over to readers and audiences, so it is almost nonsense to say that comments are completely objective. It is difficult to get rid of the participation and interference of subjective consciousness. Many smart directors are only responsible for asking questions or presenting cleverly through images. Not like a fool to erase the variety of interpretations and extensions available to the audience.
The movie "Hidden Camera" made many viewers feel extremely puzzled and bored, and they gave bad reviews one after another. As we all know, Haneke's consistent style is always closely related to depression, coldness and extremes, and often revolves around the unbearable things of the middle class. To put it bluntly Watching one of his movies is like looking for abuse and suffering. Haneke once said that in the world of movies, the audience is always the director's victim. This film also makes people feel a kind of abnormal torment. and unbearable viewing.
Because the mysterious video tapes and the strange and terrifying paintings sent to the door have left a family in unease and dilemma, the audience begins to agree with the purpose of the characters in the film, and is curious about the truth or secret behind it, but Haneke is by no means. The traditional director who takes the mainstream suspense and thriller route has not clearly revealed the truth until the end. It can be said that the focus of this film is not the final result, but the blow and impact of this cause on the internal relationship of a family. Self-righteousness and overly subjective guidance resulting from moral and moral influences, as well as involving social, legal and political aspects.
Compared with the truth, these profound reflections are more important and meaningful. There are generally two aspects of watching movies that make people feel deeply disgusted. One is that the director with ulterior motives gradually subverts the traditional setting of the plot or the audience's expectations and plot development. When there is a huge gap, the other one is led by the nose by the director, subtly playing the audience in the palm of his hand, and annoyed by being completely played. Through this film, Haneke walks out of a unique and unique way. The same abnormal line goes against the audience's wishes, and finally what is in front of us is the evidence that can constitute a reasonable explanation and the dark guidance of human nature. The result is not truth but tragedy.
This film also focuses on a middle-class family of three, with a house and a car, a decent career and a good public image, from the fan's prank to the discovery of a grim development that is increasingly bizarre and close to the dark side. The unspeakable childhood experiences of the protagonist George were brought to the table. In the process of approaching what he believed to be the truth, his sense of superiority was gradually enlarged due to the difference of identity and class, anxiety, lies, excitement and threats. I can understand more about his guilty conscience, the unfair treatment he consciously felt as a child, and the discrimination based on race and class. From deep hurt, righteous injustice, to the final suicide witness, it has been aggravated step by step.
That cut without hesitation, direct, cold and shocking, George's personality and self-identity collapsed instantly. The despicableness, filth and hatred he imposed on others were all projected and counterattacked on himself in an instant. In Haneke In this carefully designed game about human nature and morality, the dark selfishness of human nature and the ugly and hypocritical side of the middle class are shown very intelligently. Haneke's film is like a cold and sharp scalpel, cutting open The rotten lumps covered under the decent skin, from the tragic phenomena and unforgettable historical events caused by social, war and political issues, to the racial differences and differential treatment rooted in Western elite values, to the intractable family. Internal conflict and estrangement.
From videotapes and paintings to the disappearance of children, George, who turned passive into active, insisted on taking a seat at the table, believing that it was the consequences that had led to today, and the ruthless fact that no active and effective investigation could be carried out also showed the imperfection of the legal system and the failure of law enforcement agencies. inability. I remember that the most talked about word in the film is trust. George's concealment caused a crisis of trust between him and his wife Anna; because of childhood rumors, there was no trust between him and Majid at all; An innocent boy was sent to an orphanage, and at the end Majid's son said an impressive sentence: the orphanage only taught hatred, not upbringing, and the son in the film rejected and questioned his mother.
There are many eerie and terrifying details and symbols that are difficult to explain and full of allusions, such as the bloody boy and the intriguing scene at the end, Haneke even "hidden" the camera in Majid's home, letting him in It is difficult to get rid of the iron-like suspicion in George's self-consciousness. The purpose of doing so is undoubtedly to intensify and deepen George's conviction, but the dramatic thing is that Majid's death completely defeated rather than denied George's thought, further aggravating him. Fear, anxiety and even shame in my heart, the facts are often subverted or run contrary to one's self-confidence, and sometimes they can completely reverse the trend of the situation. Life is so impermanent.
Obviously and deliberately concealing it, he can't tell the secrets of his childhood. In the face of his wife's doubts and his boss's inquiries, George's unwillingness to mention and seek truth from facts, and his repeated concealment and avoidance are undoubtedly related to his fear of the outsiders who have been working hard. After the passing of his image (status and identity), George, who was obsessed at the end, witnessed Majid's death on the spot, and continued to maintain his decent life by pretending to have nothing to do with himself. His attitude towards Majid's son also deepened his difficulty. A fake image of recovery, George uses the moral standards set by himself as a protective umbrella for self-deception, and continues to pretend to live in a middle-class "class environment", but no matter how beautiful the surface is, he can't escape the inner pain and nightmares.
Doubt and trust are made by oneself or by the influence of others. The "truth" has fallen into a confusing gray area, but it has turned into a snowball-like vicious circle, constantly producing cracks and contradictions, the more The darker the description, the more the paper can't cover the fire. As the saying goes, there is no secret that there is no hidden light. Haneke's motives and intentions for "hidden camera" seem to want to highlight the clear existence that he wants to hide. Lies, as well as an attitude of knowingly pretending to be confused and ruining reasonable moral and human norms, are the triggers that ultimately lead to the tragedy.
In the end, it seems to be calm, but it is difficult to ignore the imaginative secret conversation between the two "sons" at the gate of the school, as well as some unresolved doubts and strange places in the film. The terrifying crisis and future hidden dangers in it give the audience space for their own interpretation and reverie. The process of watching Haneke's films may not make people feel pleasant or relaxed, but it can stimulate the audience's deep and unlimited speculation.
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