Caché, attempting to be many things at once, succeeds in some of them, being above all else an excellent example of postmodern uncertainty paired with postcolonial criticism and reversing the classic Hitchcock (i.e. Rear Window) tradition of viewer identification with a voyeuristic character to become instead the watched, the terrorized, and (worst) the unknowing.
A Sentence on Caché
09 Sep This entry was published on September 9, 2008 at 10:42 am. It’s filed under 2000s Cinema, One-Sentence Reviews and tagged Algerian, Caché, Daniel Auteuil, French, Juliette Binoche, Michael Haneke, Postcolonialism, uncertainty. Bookmark the permalink. Follow any comments here with the RSS feed for this post.
The last moments of this film were maybe the most frustrating I’ve ever watched.
I know! You’re thinking, “No, that couldn’t be it.” But then the credits roll. But don’t you think that it achieves a certain point by avoiding plot resolution? I mean, not that it was satisfying, but it was at least hopeful (having the two sons meeting together in the above screenshot).
I can’t even remember what I saw in the last shot… I was trying so hard to watch the entire frame, and I couldn’t figure out where I was supposed to be watching, so I missed whatever was significant.