Georges, who hosts a TV literary review, receives anonymous packages containing videos of himself with his family, shot secretly from the street, and alarming, obscure drawings. There’s no commentary, no threats, but the message is clear: You’re being watched. Slowly, dark revelations come to light.
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Where other thriller or horror directors constantly build and release tension at regular intervals, Haneke just keeps on slowly ratcheting up the stakes until the movie snaps like a rubber band, quick and stinging.
Michael Haneke’s latest offering, Caché brilliantly converges towards early Harun Farocki themes of surveillance and terrorism though images while retaining his own recurring themes on the abstraction of videoimage representation.