Violence, coldness, vacuity. These could be the three key words to characterise Michael Haneke’s Glaciation Trilogy. The characters are executioners and victims at the same time. Executioners against other human beings (but also against themselves), victims of a world in which there the human being as such is no longer considered.
In The Seventh Continent, Michael Haneke’s first feature film, what we observe is the progressive and sudden disintegration of the contemporary bourgeois family, observed and approached in an almost Schnitzlerian style, complete with omnipresent violence that is never really represented before our eyes. A constant theme, this, in Haneke’s rich filmography.