Jean, a farm lad, wants to escape his silent father; he runs to Paris to his older brother, Georges, who's away covering the war in Kosovo. Angry, he throws a bag of half-eaten pastry into ... See full summary »
A 14-year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents.
A European family who plan on escaping to Australia, seem caught up in their daily routine, only troubled by minor incidents. However, behind their apparent calm and repetitive existence, they are actually planning something sinister.
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
In an undefined time, the environment has been totally destroyed and now the water is contaminated and the animals have been burned. Georges Laurent travels with her wife Anne Laurent, their teenage daughter Eva and their son Ben from the city to their cabin in the countryside. On the arrival, they find that intruders have broken in the house, and one stranger kills George. Anne, Eva and Ben wander through the village asking for shelter and supplies for their acquaintances, but they refuse to help them. They reach an abandoned barn and spend the night inside. On the next morning, they meet a teenage boy and they walk together to a train station, where they find other survivors. Together, they wait for the train expecting to go to a better place in the middle of the chaos. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
If there's one subgenre that particularly appeals to me, it is the post-apocalyptic movie, or any movie dealing with the end of civilization. I don't know why the subject fascinates me so, but it does. Haneke's The Time of the Wolf is one of the best of its type ever made. Some sort of cataclysm has occurred all we really know is that most water supplies are tainted and we follow a mother and her two children (the father is with them when the film opens) as they vie for survival. Life now is all about the few material possessions you have preserved. You try to hold onto a semblance of your values, but they seem mostly vestigial. Isabelle Huppert returns as Haneke's star. She and her children are the point around which everything happens, but they are just three people amongst many. The young girl who plays her daughter, Anaïs Demoustier, gives a particularly amazing performance. We talked (ed: on the Classic Film forum of IMDb) last week (or perhaps the week before) about the directors influenced by Hitchcock and those influenced by Bresson, and Huppert in an interview explains how both directors have influenced Haneke. It's definitely true. Haneke uses suspense in a much different manner than Hitchcock, but the devices are surprisingly similar.
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