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Bourgeois Nightmares

Gilberto Perez: Michael Haneke, 6 December 2012

... beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke. Funny Games (1997) is a violent melodrama about a respectable family set upon by nasty criminals, much as in The Desperate Hours (1955) or Cape Fear (1962). (Both films were remade in the 1990s, by ...

At the Movies

Michael Wood: ‘L’Enfant’, ‘Caché’, 6 April 2006

directed by Jean-Pierre Dardenne and Luc Dardenne.
May 2005
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directed by Michael Haneke.
May 2005
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... not a mystery, because it doesn’t have a solution, only multiple, intimated causes. The plot of Michael Haneke’s Caché, on the other hand, is a mystery, because it has several solutions, all dull. The dullest is the one the director himself seems to prefer: there is no solution, and only unsophisticated viewers will worry about such things, instead ...

Like a Manta Ray

Jenny Turner: The Entire History of Sex, 22 October 2015

The Argonauts 
by Maggie Nelson.
Graywolf, 143 pp., £23, May 2015, 978 1 55597 707 8
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... Names that come up in this context tend to be better known to mainstream audiences: Neil LaBute, Michael Haneke, Lars Von Trier. But it’s Nelson’s thoughts about the stuff that flickers in the middle that bears most directly on writers of memoir. The idea, for example, that if we can see the artist is suffering, that makes it OK that the artist is ...

A Young Woman Who Was Meant to Kill Herself

Jeremy Harding: Charlotte Salomon, 8 March 2018

Life? Or Theatre? 
by Charlotte Salomon.
Duckworth, 840 pp., £125, September 2017, 978 1 715 65247 0
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by David Foenkinos, translated by Sam Taylor.
Canongate, 224 pp., £8.99, January 2018, 978 1 78211 796 4
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Charlotte Salomon and the Theatre of Memory 
by Griselda Pollock.
Yale, 542 pp., £45, March 2018, 978 0 300 10072 3
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Charlotte Salomon: ‘Life? Or Theatre?’ A Selection of 450 Gouaches 
by Judith Belinfante and Evelyn Benesch.
Taschen, 599 pp., £30, November 2017, 978 3 8365 7077 0
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... of Walter Benjamin above all; with European cinema, from Murnau through Leni Riefenstahl to Michael Haneke; with Freud’s Moses and Monotheism; with mid to late Derrida; with Barthes, the decoder of the close-up face in cinema and the figure in the still photograph. She shows us the swaying edifice of Weimar as it goes down, and the horrors that ...

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