04 February 2010

The White Ribbon

Michael Haneke's new film The White Ribbon has been creating a bit of buzz in my art-centric neighborhood. I was first attracted to it when I saw the preview at Séraphine (2008), which is a whole other post unto itself.

Firstly, Caché (2005) is one of the most... uncanny ("strange or mysterious, especially in and unsettling way") films, among other adjectives. If you haven't seen it, add it to the mental queue immediately. Now, after watching Ribbon, I completely see the commonality between the films. His style is fluid and yet broken; concise, yet ambiguous. These are great discussion films. I could talk about them for years. And I probably will.

Secondly, the cinematography is standout, balls-out amazing. Most any frame in his film(s) could be removed from its original context and be considered a photograph in its own right. This is especially true for Ribbon, I think. It might be the black and white format that does it for me. He has a wonderful sense of symmetry, if not balance. Not one scene is neglected. Intrigued?

Le sighhhhh.

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