There’s no empathy in Haneke’s carefully composed frames, ruthlessly prolonged takes, and generally detached stance.
It isn’t very fashionable to be a moralist in art these days.
The Academy rarely passes up the chance to gush over black-and-white lensing.
We’re down to the wire, folks, and we’ve been saving some of the more contentious races for last.
Le Corbeau may be far from trite, but it is just as far from profound.
If this were the ’50s or ’60s, a distinctive artiste like Haneke would be an Oscar winner.
Understanding Screenwriting #40: Police, Adjective, The White Ribbon, Sherlock Holmes, & More
by Tom Stempel
Who said writing Romanian screenplays was easy?
Who is to blame? Everyone. Parents, religious leaders, social leaders, all let down the side, and with relentless vigor.
In The White Ribbon, all feeling is stifled, and this repression breeds repression.
The White Ribbon suggests a Children of the Corn prequel played as rigid thesis.