The real time picture of the movie and the surveillance picture maintain a unified realism tone, which is different from other movies that always add decorative hints to the surveillance picture-the horizontal bar caused by the compressed picture quality, the REC in the corner or the time prompt. No audience will know that the first still long shot of the painting is the surveillance screen the couple is watching. It is their voices entering the scene and the subsequent plot explanation that we infer this order. The title and creator of the film also appear in this picture. It is like a shot taken by the author who needs to give information or convey beauty, and choose it to engrave his own brand. In fact, this is indeed the case, but in the genre film it needs to be completely deceived, to convince the audience that this is indeed a surveillance picture, a third-party behavior of surveillance; however, in this film, the author shoots and handles it like this , The purpose of splicing is not to highlight the reality, but to show the fact that the monitor is the author. If the surveillance picture and the real time picture are from the author's perspective, it obviously breaks the inner structure of the film, or the author is a transcendental being—God's eye examines it all.
The frequent cuts from one scene to the next for no reason in the film are also like the sudden ending of a video tape. It can be said that Haneke sent you a video tape. ; and he has used this technique without hesitation since the first half of the foreshadowing event, not only trusting our information organization ability, but also explaining: "I" (the author) is releasing information selectively and in stages, while the audience Like the couple in the film, judgments can only be made based on the information that has been received. Obviously it's narcissistic.
The most obvious is that the second time the videotape received by the couple appeared twice. The first time was a real-time scene, because there was no voice-over; but the second time it appeared, it was the monitor screen that was played back after the male protagonist got home. Instead, it was here. At that time, the counterattack of the boy who coughed up blood appeared. It proves that as mentioned before, the author does not care whether the reality is highlighted, and can even splicing different space-time images together at this moment like a black hole folding. (By the way, the dream image is clearer and free of impurities than the real time image. Both the real time image and the surveillance image have obvious edge graininess, which is a kind of image that imitates a videotape.) At this time, the image of the boy coughing up blood is The male protagonist's imagination, because we learned from the couple's conversation in the next second that the male protagonist was distracted while watching the video, and it was the first time they received a painting of a boy who coughed up blood. From the first time he saw the painting Knowing who it is, you can glimpse the tip of the iceberg of fear buried deep in his heart.
What was the driving force behind him trying to cover up his childhood? It's the same fear. I remember that in an episode of the villain film critic, guest Jin Jin said: "Children have a natural class consciousness and have no reflection on it." The massacre, the stigmatization and persecution of the adopted son of a black long-term worker in Algeria by the son of a white French landowner is not just a broom, but a huge wave caused by class, nationality, and history, which swept to a certain village. Spray on the farm. It was enough to change a child's future, and the aftermath killed him to this day.
Of course, Magee's suicide was also because he saw that George who pushed him into the abyss (orphanage) did not have a trace of remorse, but the audience knew that George's lingering nightmare (in the nightmare, Magee's anger to kill the cock also seemed to be revenge on Algeria) The fear of the Gallic rooster), the more decisive his indifferent gesture, the more we feel his fear. George's fear and indifference are the 37-year denial and public opinion control of the French government's Paris massacre in 1961; he saw Magee, who was persecuted by him decades later, but he did not ask about his life at all, he was a middle class ( Or as he puts it, "social elites") don't ask questions or care about those at the bottom. They come from the same fear, fear of falling from the class, fear of political liquidation, fear of family business and other damages related to self-interest, fear of all the crying and coughing up blood of the souls who have fallen into the abyss through their own hands... You can't believe this, continue Talking TV shows, going in and out of the party, enjoying the smiles of book fans and colleagues, and even turning back to ridicule and dispel these heavy burdens - at a friend's party, a supporting role spent a few minutes just telling a story about reincarnation. It's a joke, and in the end only one black woman is still wondering if this is true or false, and it seems to have a historical point. Of course, they can laugh at reincarnation, and they can also disbelieve in karma.
However, when George was summoned to the office by his superiors and faced threats to his own interests, he could safely say "May God have ears". If the hidden camera is God's eyes, even if God sent the videotapes to his home , he was unmoved. Because there are all self-interests that need to be safeguarded around, maintaining family, house, career and everything that represents the middle class seems to make nightmares a negligible price. But their family is so unbearably presented in front of the audience, the offense of words and the lack of trust make the emotion nowhere to be dredged, and the relationship between respectful or tit-for-tat has made the emotion rigid and how fragile it is in the face of external forces. The departure of the son, who has nothing to do with the core incident, not only pointed out the sensitivity of the child, but also opened the wounds of this middle-class family again like a scalpel. However, it is not possible to clearly distinguish personal faults, because they do not communicate with each other, so the couple does not know Pierce's thoughts, Anna does not know George's suspicions and nightmares, George does not know that Anna's emotions have nowhere to express, nor does Anna and Pierre's relationship...
As a role for Anna to question the past of George and Magee on behalf of the audience, the author did not design any sympathetic features because of this, except for the more exposed sadness when encountering heavy pressure, but in essence, she and George are the same people. She can also hit pause on a crying clip of someone her husband hurt as a child, and she won't show more negativity when her husband brings out the fact that Maggie committed suicide in front of him and his past mistakes and just touches it down His shoulders; precisely because the middle class is hypocritical, cowardly, selfish, with original sin, and distrustful of each other under Haneke's lens, its images, such as mathematical derivation and thesis proof, carry out characters first. To shape, the concept first leads to the storyline. The same is true for the French government, which bloody suppressed the Algerians on October 17, 1961, what a powerful class/political community's self-preservation energy that allowed it, or George, to face the victims who died in front of them without the slightest guilt , and then kept silent for the countless years that followed. However, George would still, many years later, go to sleep naked and dream of the farm scene that had really happened - the process of Magee being pushed into the abyss, like hundreds of Algerians being sunk in the Seine. And now, the colonial news on TV is still happening...
This does not require us to put ourselves in the cultural context level. We are most qualified to empathize with it, because we have been like this in the past, we have no self-examination now, and we will return to the same place in the future. In the finale, the camera stopped at the gate of the school of his son Piehou, but Piehou was not seen, which may imply that he was implicated in this incident, but the meaning of the school is still asking, what kind of history do we want to leave to the next generation?
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