[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
A 14-year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents.
I don’t hate Michael Haneke or his films. I do hate watching them though. They generate interesting conversation and explore worthwhile themes, but the act of sitting through his movies could hardly be described as a ‘fun time’, in fact, they are often soul-crushingly depressing. Benny’s Video is no different. This was made crystal clear when the film begins with a pig being killed by a cattle gun – Anton Chigurh style. Not just this, but we see the main character watch it on videotape, rewind, then watch again in slow motion.
The issue I have with Benny’s Video however, is that the message of the dehumanizing effect of the media is told in a didactic way, and the second…
Benny's Video continues to deal in the dominant themes of Haneke's career, particularly regarding home invasions of influential outside elements into the otherwise sheltered domesticity aesthetic of the family. Benny's Video is both an early life depiction of unchecked consumer curiosity gone wild, and also loosely at home in an Omen-esque Viennese sub genre where not relating to your children becomes something more ominous.
Technically, there are some lovely moments here. Opening with and repeating the playback of a pivotal moment in a pig slaughter immediately submerges us into the world of a well-to-do Viennese teen, seemingly harmless but obviously and disturbingly entranced by violence. Later, there is an interesting scene when an earlier scene is rewinding within…
This is a much more heavy-handed passive aggressive attack on modern media, especially the TV screen, a theme that i find within the majority of his works, but i prefer it so much more when he's being subtle about it. It appears to me, that his films fluctuate up and down the scale of how in your face they can be with their messages, i for one much prefer the cryptic nature of them as in Cache or Seventh Continent, as compared to Funny Games and Benny's Video.
It's rather soulless, Haneke wants you to see the weaknesses within yourself, to see a vast problem emerging, a difficult feat to force into the viewer, and for me this film was…
Benny’s Video is the second part of Haneke’s “Glaciation Trilogy” (which also includes The Seventh Continent and 71 Fragments of a Chronology of Chance) and is primarily concerned with the isolation of youth and our exposure to violence. Though I’m a fan of Haneke’s more recent work, I find a lot of his earlier films to be preachy, sometimes even hectoring, and he and I fundamentally disagree on the issue of violence in cinema. It is therefore with a genuine sense of surprise that I can admit that I quite liked Benny’s Video.
The film follows a 14-year old boy, Benny…
The scene comes in the second act when the mother lets out a chuckle during what is supposed to be a very serious scene..Herein lies Haneke's brilliance of showing how individuals hide behind the facade of normalcy and how media desensitizes the human soul to violence. Not as powerful as The Seventh Continent which it has shades of,still worth a watch.
"and what was it like?"
Haneke has never been served by an irreducible clarity of expression, and this remains his most useless instance of teachable cinema. prescient at the time of its making, the film's insights regarding images of violence and the numbing effect of mediated living are now regrettably self-evident... the film completely fails to support its pivotal moments of ideological purpose, namely the opening sequence and the moment during which "benny's video" is normalized as it abruptly cuts into a banal advertisement.
essentially, this film feels like the movie that Haneke's laziest critics always assume that he's making. and it ends with such an embarrassing mic drop... i think of that horrible cologne ad that Scorsese made, where…
İşlediği cinayeti de geri sarabileceğini sanan, annesi zırıl zırıl ağlarken "ne oldu?" diye sorabilen sosyopat Benny, Funny Games'te de karşımıza çıkacak. Ama bi Michael Pitt olamayacak kanımca.
For almost eight years I've been touting Antonio Campos' AFTERSCHOOL and wondering why he was never able to make a film that great again.
Turns out, it's mostly a remake. Of this 1992 Michael Haneke film. Now I've never been a huge fan of Haneke's work, there's not a single film by the man I can actually say I enjoyed, but this one impressed me to a degree. I still might prefer AFTERSCHOOL.
It's been some time since I watched a Haneke film, and I couldn't remember sharply the quality, the major virtue of Haneke as a filmmaker, why I regard him as one of the finest directors out there. Was the sentimental detachment? Or his musings on modern consumption of media? The cold and almost clinic approach is, of course, fitting and interesting, even though his films are thematically dark, why do I remember his films like such bright experiences?
But then I watched this. And I remembered. This film shows how thoughtful is Haneke. That's his trademark, making great pieces with substance and style, form following function and viceversa. There's no frame without care, no dialogue without attention. His films, they seem quiet but there's always something happening.
Benny's Video is Michael Haneke's practice run at Funny Games. It is about a boy who watches a video of a pig being killed by a butcher's gun. He invites a girl at a video store to his room, and the film plays out there. The violence here mostly happens off screen, but the implications of media and violence are very much in the Haneke wheelhouse. Sleeping on the film actually helped it raise in my estimation, mostly because Haneke knows how to make images and sounds stick into your soul. While he isn't yet making masterpieces by 1992/1993, he is planting the seeds as a master.
Another compelling gut-punch from Master Haneke that was extremely effective, despite feeling a little more heavy handed than some of his other films that tread similar psychological and thematic terrain. I originally rated it slightly lower, but some pondering on it really solidified its mark of quality in my mind. His films scar!
The excellence that only Michael Haneke could achieve. He has a way of showcasing the ordinary life with a psychological depth that strikes me every time.
In this film, Haneke explores, once again, the role of violence and media in modern society.
Benny is a 14-year-old video enthusiast who is so engrossed in film that figuratively, does not discern the video world with the real one. His parents don't properly look out for him, which means he spends most of his time caught up in his videos.
Benny's following actions break the moral line of killing, which is effortlessly represented in films. The naturality of this film is disturbing, and the ordinary life has never been so exciting.
Michael Haneke doesn't need to do fancy camera movements or make great effects to immerse you into his film. I can't explain how he does that. He is beyond cinema as well as his films are beyond morals.
A truly disturbing film with extraordinary cinematography.
What's with parent's life decisions though?
Absolutely chilling. Haneke is one of the coldest motherfuckers on the planet. Not his best work but there's still something special about Benny and his videos by special I mean fucked in the head.
Happy little film about a boy discovering the joys of filmmaking.
The Academy Award for Best Foreign Language Film is handed out annually by the U.S.-based Academy of Motion Picture Arts…