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zdecydowanie tak, po Ukrytych i Kodzie nieznanym.... będzie się działo.
~ psubrat
mus see
~ lukchmiel
arcydzieło, tak myślę
~ marty27
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si si si
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Mój nr 1, moja pierwsza projekcja na tegorocznym festiwalu.
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Biała wstążka, Spotkanie w Palermo, Dubel, Królik po berlińsku, Incantatio i może kilkanaście innych...
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'funny games' było mistrzowskie, podobnie 'ukryte'; niby wsrod kinomaniakow haneke nie jest postacia anonimowa, ale ciesze sie, ze przez te palme z cannes o wiele wiecej osob o nim uslyszalo, bo rezyserem jest znakomitym, taki panegiryk
~ skript
  Cycle index  
The White Ribbon
Das weiße Band
dir. Michael Haneke / Austria, France, Germany 2009 / 154’
subtitles: Polish and English
opening / closing of the festival


Marisa Growaldt, Christian Friedel, Mercedes Jadea Diaz, Janina Fautz, Sebastian Hülk, Theo Trebs, Leonard Proxauf, Leonie Benesch, Ursina Lardi, Kai-Peter Malina, Enno Trebs

Film description

In The White Ribbon, winner of the Golden Palm at the Cannes Film Festival, Michael Haneke creates a portrait of German villagers at the turn of 1913 and 1914. He depicts their everyday hard work and their festivals. But among their routine activities, organised by the farming calendar, the director finds disturbing events, disclosing more and more dark mysteries. When a group of children go across the village, you can feel terror on the screen.

Director of such works as Funny Games, The Piano Player and Hidden, Haneke keeps depriving his audience from the sense of security. With the black and white cinematography and slow, hypnotising rhythm, he creates a distance between the film's characters and its audience. He makes the spectators watch coldly the moral decay of a community of modest protestants. He manages to record on celluloid film all the hatred, intolerance and cruelty being imperceptibly born, as if on a margin of a common life, suppressed and hidden, but leading actually to a tragedy.

It's no coincidence that the film is set in the second decade of the 20th century. The Austrian director reminds us of how deep the origins of totalitarianism reach, that this system did not come to being suddenly at rallies or political manifestations. Its seeds lie deep in the process of upbringing, in people, in their way of thinking and perceiving the world around them. At the beginning of the 21st century, The White Ribbon seems to be a warning. Haneke leaves his audience with the question: can we draw any conclusions from history?

Krzysztof Kwiatkowski

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Night and the City by Jules Dassin was specifically selected for the ENH festival by Almodóvar. This film inspired the Spanish master during his work on Broken Embraces (Los abrazos rotos).

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