Production: Wega Film

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WOODLAND

In Woodland, the romanticism of the Waldeinsamkeit has the resigned eyes of Gerti, the habitual proxemics of Franz and the inner chaos of Marian, the only one who seems to be able to draw something positive from the encounter of two worlds, both old and new.

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FUNNY GAMES U.S.

In Funny Games U.S., Michael Haneke showed us above all how certain dynamics, even after several years, have never changed. Upper-class society, but also gratuitous violence and, above all, the power of staging are faithfully re-proposed from what had already been staged, ten years earlier, in Funny Games.

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FUNNY GAMES

Funny Games (Michael Haneke, 1997) is not a simple attack on the upper-class world. In Funny Games, in fact, the social discourse is present, but is somehow marginalised. What is carried out here, in fact, is first and foremost a sophisticated metalinguistic experiment, in which we witness a careful reflection on the staging of violence and on the power of cinema to forge reality at will, in order to awaken the most disparate emotions in the viewer.

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HIDDEN

Everyone has something to hide. Michael Haneke knows this well. And he also knows that certain secrets and faults from the past can also have a strong, very strong impact on the present. In Hidden, therefore, the protagonist’s past returns in the most devious way.

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BENNY’S VIDEO

In Benny’s Video, reality is what we see, but also what we can manipulate at will. Michael Haneke knows very well where to direct our gaze, simply letting the images speak for themselves and – through monitors that almost act as a ‘filter’ – showing us a distorted world, a sick world.

71 FRAGMENTS OF A CHRONOLOGY OF CHANCE

It is based on a real-life news story 71 Fragments of a Chronology of Chance. In the film – which is divided into five chapters, each concerning a particular day – everything takes place from October 12 to December 23, 1993. Everything leads up to a single event in which all the characters will be involved in one way or another. But how important is the human being in this feature film by Michael Haneke?

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AMOUR

In Michael Haneke’s Amour (Palme d’Or at the Cannes Film Festival 2012, as well as Oscar winner for Best Foreign Language Film in 2013), there is no place for deep reflections on what human beings have become today. There is no place for the inner torments of talented pianists, adrift families or white-gloved young delinquents breaking into rich homes. Now is the time to focus on one of the most complex feelings, in its purest form.