There’s a scene in [the film], shot in a single immobile take, where a poor man comes to look at the corpse of his wife, who’s just been killed in a sawmill accident. Her upper body is blocked out of view. The man, his head held low, approaches the bed she’s been laid on and, in a moment of unknowable misery, becomes obscured. It’s at this moment that Haneke relinquishes the aforementioned privilege and it becomes clear that THE WHITE RIBBON is the most openly empathetic film he’s ever made.
January 15, 2010