I'm a sucker for films set after an apocalypse so I thought a list might be useful. It is by…
Time of the Wolf
When Anna and her family arrive at their holiday home, they find it occupied by strangers. This confrontation is just the beginning of a painful learning process.
It's a tale of survival, brutality, humanity and ultimately hope, set against a harsh nature but hardly putting the blame on it. It's Michael Haneke's Time of the Wolf and it packs a stirring amount of grace and finesse. Set in a realistic and hauntingly familiar post-apocalyptic future - though this is never the focus - Haneke shows the struggle, harrowing hardships and human dignity through it that defines those faced with the worst of times when all is seemingly lost.
It is in many ways about faith in this journey. When religion becomes even with doubts, and seemingly crumbled, faith is the ultimate test the family traveling away from the bitter cold and into stable shelter must face. The…
Tenth watch of Dystopian December. Michael Haneke and the theme of dystopian futures seems a match made in heaven as the director normally manages to make his non-apocalyptic films pretty dystopian already. With the slowly paced Time of the Wolf this fantasy is turned into reality and the result is admirable on the one hand, but a bit of a disillusionment on the other. If you enter the film with no knowledge on the plot (forasmuch as one can speak of the existence of such a thing), you’d think of the first scene as one wherein a family is seen on the first day of their vacation out in the woods. That idea is immediately shattered and we are instead…
Time of the Wolf, or ''everyone yells and cries at each other for two hours'' is Haneke's attempt to make the most difficult film to watch ever created. You see one fateful night in 2002 Haneke was pondering just how to make his films more depressing and harrowing. Then it struck him, he didn't have to play chess on the board, he could move the pieces into the mud and play there.
One could call the film reserved, reserved in a way that it isn't as 'edgy' and 'grim' as others that feature masses of rape, torture, and cannibalism; this isn't that sort of film. At first it seems rather ''out there'' for Haneke. I thought maybe giant television sets…
“You mean you really don’t know what’s going on?”
The work of Michael Haneke is not to be taken lightly, and The Time of the Wolf is certainly not an exception to this unwritten rule. Coming back around to this a second time after exploring much of his oeuvre, has offered greater insight into his intent and how the film ties into his familiar themes on human nature and social behaviour. Here in this post-apocalyptic setting, we are offered a glimpse into the shifting dynamic of the family unit under duress and the rebuilding of social order (with glimpses of the social 'ism's' coming to the fore) when it has all but been removed due to an unexplained phenomenon. This…
"Set somewhere in Europe in what appears to be the near future, Haneke's apocalyptic fable takes a rigorously realistic approach to material all too often compromised by hackneyed spectacle and sensationalism, simply tracing a family's attempts to survive in a countryside deprived (for reasons wisely left unexplained) of electricity and clean water. Darkness is the film's dominant metaphor, underlining not only the uncertainty felt by Isabelle Huppert, her two kids, and those they encounter on their travels in search of food, safety and something resembling normal‚ civilisation‚ but also the terrifying threat of absolute solitude. Since Haneke refuses to provide the usual dramatic climaxes, the film demands an attentive curiosity from the viewer not required by more conventionally generic fare, but the strategy has its rewards, not least in the unexpected emotional force of the final two scenes." (Geoff Andrew)
Another review of this I read said (roughly) "about as much fun as you'd expect a Haneke post-apocalypse movie to be, i.e. no fucking fun at all" and I can't really put it better than that.
After an absolutely KILLER first 10 minutes or so it loses almost all of its momentum; a shame, really.
First Haneke dud.
A post-apocalyptic genre film from Haneke, which both on and beneath the surface feels like a departure from the rest of his output.
Played in some post-apocalyptic France.
All acting seem very real, very naturalistic in this gruesome scenario.
Isabelle Huppert is very downplayed in it. Brilliant actress!
Undoubtedly, more a film to respect, than one to enjoy. As I watched it, I told myself that I would never rewatch this, but I am not so sure about that now. That turnaround might tell something about the quality!
This movie will have you reaching for the nearest napkin and punching a hole through your TV to wipe this kid's mouth.
A French Film from more than 10 years ago, that immediately invokes the far superior film, The Road. This film while a very different take on the dystopian picture at that time, does not age nearly as well as I'd hoped. This film remains a nice contrast to all these dystopian media that emphasize more action, the film instead takes a more somber look at a world gone wrong focusing more on atmosphere, psychology, and setting a malaise mood. Unfortunately for me, a lot of it doesn't play well and after being bombarded with books (I just finished Station Eleven), television, and film about every possible angle of dystopian worlds, it feels old. After a frighteningly intense opener, the movie…
There are two quotes that I think are appropriate in sharing when discussing the subtext of Michael Haneke's Time of the Wolf. The first is by famed Roman playwright Plautus, who said "man is not man, but a wolf to those he does not know." The other is by the English author and priest William Ralph Inge, who said "it is useless for the sheep to pass resolutions in favor of vegetarianism, while the wolf remains of a different opinion." These two quotes together touch upon ideas central to Haneke's thesis in this film. His vision of the post-apocalyptic world is indeed the time of the wolf, as the title suggests, and the main contention for the protagonists in the…
Haneke's anecdotal indictments of modern Western society are as puzzling as they are engrossing. In this post-apocalyptic drama he puts France in the cross hairs, following a typical family as they navigate the unforgiving environment of their plague-ravaged native land. Anne Laurent and her two children are looking for basic safety, having lost all of the comforts of their modern world.
The family's initial retreat to their secluded cabin feels strongly like the beginning of Funny Games: Their holiday home is off the beaten path in the dense woods, the car is loaded with luggage, the father gives instructions like a typical patriarch, the young son frets about his pet bird. The severity of the situation hasn't yet sunk in.…
In early June, 2013, my best friend killed herself.
She took a cab to the middle of nowhere and vanished,…
I'm posting this list earlier than normal as I'm not sure I'll be around much next week.
For the purposes…