This is from an assignment from my Art Philosophy class, hence why I mostly talk about the opening shot. I got an A.

I often argue for the importance of context in art, and this is one of the ultimate uses of it in film. The opening shot of Michael Haneke’s brilliant film Caché is at first mundane, then terrifying as it recurs throughout the film. It didn’t need to be artfully framed to serve its purpose perfectly and at first glance it isn’t, but, as is always the case with Haneke, there are myriad subtle things that add further to the disturbance.
The opening shot in question is of a domestic city street in France. It lingers for quite…

Caché is so gripping, its dark tale of bourgeois guilt perfectly suited to Haneke's enchantingly brutal style. Everything here is too close to reality in an audio and visual sense, making it never feel quite right in the best way possible. Caché is a film about dredging up secrets and the way that guilt lingers and festers. The subtext about colonialism and society having never owned up to its wrongs from prior years is something everyone analysing Caché seems to draw upon. But I feel it extends beyond that to 21st century phenomena and consequences. There's more than one allusion to trouble in the Middle East, which seems a fantastic example of how past wrongs now bleed into our present.…

At this point, I should just tattoo Michael Haneke's name across my ass because he fucking owns it. 

Caché is a tricky, tricky film, and Haneke is a tricky, tricky director. He loves to play games with his audience, much like a cat with a mouse. He relishes revealing the part we play as viewers, and consequently calling into question the act of viewership itself. Wheras Funny Games forces us to engage with our participation in film violence (specifically films of the tortue porn variety), Caché poses a question for the audience: is it possible that we are the stalker?

There's much to debate about who, exactly, is filming the tapes that terrorize the Laurent family. The brilliant final shot…

Honestly a masterpiece. Definitely the best Michael Haneke movie I’ve seen so far. 

I love how he directs his movies, it’s not at all flashy or in your face, but is still obvious that a shit ton of work is put into it. The effort probably put into the blocking for the shot in the elevator is really impressive when you think about the organization that would occur, especially when it’s for something so relatively unimportant. 

The story is very interesting and is compelling watching all this information unfold. The film gives out nearly everything you need to know through dialogue. In most movies it would painfully obvious when the movie is shoving exposition down your throught, but here it’s…