A thriller about social responsibility:  Haneke in top form

When hiding can be revealing -- one of the top films of the 2000s

Reflective probing of hidden guilt, but definitely not top-notch cinema

Global Paranoia and Responsibility Made Very Personal

49 Rue Brillat-Savarin, Paris 13, Paris, France

Das weiße Band - Eine deutsche Kindergeschichte

Code inconnu: Récit incomplet de divers voyages

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71 Fragmente einer Chronologie des Zufalls

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Juliette Binoche in Three Colors: Blue (1993)

Why? Are you less lonely because you can sit in the garden? Do you feel less lonely in the metro than at home? Well then! Anyway, I have my family friend... with remote control. Whenever they annoy me, I just shut them up.

Juliette Binoche, Daniel Auteuil, and Diouc Koma in Caché (2005)

Juliette Binoche and Daniel Auteuil in Caché (2005)

Daniel Auteuil and Bernard Le Coq in Caché (2005)

Daniel Duval and Nathalie Richard in Caché (2005)

Juliette Binoche, Michael Haneke, and Denis Podalydès in Caché (2005)

Daniel Auteuil

Juliette Binoche

Maurice Bénichou

Michael Haneke

A married couple is terrorized by a series of surveillance videotapes left on their front porch.

Caché

Who&apos;s really looking?

We are, yes, we&apos;re the ones who look without really seeing and Michael Heneke, the veteran young director knows it. Paranoia and responsibility in a film that is as irritating as it is brilliant. Even the opening credits, small writing while a camera, still, very still, stares at an upper, middle class abode. An intellectual Hitchcockian exercise by a genial director who seems, at times, is playing with himself. He probably is doing it knowing that we&apos;re looking and tests our endurance without caring, really, whether we&apos;re with him or against him. What he, I believe, wouldn&apos;t tolerate is our indifference but, there is no danger of that. Love and hate. Admiration and ridicule. He will inspire all of that, at the same time by some of us, all of us, one way or another. The performances are all wonderful and there is a marvelous moment with the great Annie Girardot.

We are, yes, we're the ones who look without really seeing and Michael Heneke, the veteran young director knows it. Paranoia and responsibility in a film that is as irritating as it is brilliant. Even the opening credits, small writing while a camera, still, very still, stares at an upper, middle class abode. An intellectual Hitchcockian exercise by a genial director who seems, at times, is playing with himself. He probably is doing it knowing that we're looking and tests our endurance without caring, really, whether we're with him or against him. What he, I believe, wouldn't tolerate is our indifference but, there is no danger of that. Love and hate. Admiration and ridicule. He will inspire all of that, at the same time by some of us, all of us, one way or another. The performances are all wonderful and there is a marvelous moment with the great Annie Girardot.

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