Haneke’s debut feature film is inspired by a true story of an Austrian middle class family that committed suicide. The film chronicles the last years of the family, which consists of Georg, an engineer; his wife Anna, an optician; and their young daughter, Eva.
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Haneke destroying the sacred temple of the atomistic family. The values we associate with the family, love, security, trust, it being a shelter against the world, turn in on themselves to destroy it. For the love within family already involves violence, the security already involves selfishness, its seclusion involves alienation. The family is no refuge from the horrors of life (and death), it is an extension of it.
Modernite eleştirisi bağlamında tam bir başyapıt. Haneke daha ilk filminden Avrupa toplumunu ve bireyi ne denli rahatsızlık uyandıracak düzeyde sinemaya yansıtabileceğini bizlere gösteriyor. İzleyiciyi irrite etmekten hiçbir şekilde çekinmiyor ve kendimizi sorgulamamıza vesile oluyor.
not my favorite Haneke but affected me in a very deep way, I guess, I relate to these people and the film left me thinking about everything, and i mean every thing. on the other hand, Evi is just the cutest little girl ever.
A rather laboured nihilistic intrigue that successfully builds up a rhythmic procedure of mundanities but fails to ignite much interest - intellectual or emotional - once the pattern is repeated time and again. There's a certain elan in the detached spareness and some level of comment on the robotics of life as led, but it could have been told at half the length without compromise; a question of length not pace.
Damn, what a great way to make me speechless! Haneke's debut is a cinema delight: it has a fresh vision of its imagery, it delivers striking performances and it's good from second one to its ending - all done with a mature hand for provocative statements. The aquarium, the toilet, the blindness, the slapping, the agony - so present, so common, so daily. Seventh Continent shocks: it's gutsy and powerful.