This minimalist package is a tell that Criterion believes that the films speak for themselves.
The dearth of substantial extras leaves the film, perhaps appropriately, to mostly speak for itself.
Are we subjecting Hitler’s stereotype to the very mistreatment that contributed to the man’s infamous persona?
It was just a matter of time before Michael Haneke and Franz Kafka crossed paths.
How cold does Michael Haneke have to be for a punitively faithful Kafka adaptation to qualify as one of his most humane works?
The Orwellian intimations are, like the copious shout-outs to Brecht and Beethoven, catnip to audiences who never heard of The Lost Honor of Katharina Blum.
Benny’s Video is a smug, contemptuous, passive-aggressive attack on the dehumanizing effects of media.
Haneke’s admonishments are disturbing only in the sense that they’re never self-critical.
When Eric Cartman grows older and goes to film school, his student films will resemble the early works of Michael Haneke.
There’s always a sense that Haneke thinks he’s above his characters, his audience, and scrutiny.
A few elements chip away somewhat at Amen’s seriousness of intent, but they do add fire to the stimulating drama.
Costa-Gavras walks a fine line between portraying the soulless social allowances and ignorance that allowed the Holocaust to happen, and exploiting them for dramatic punch.