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Caché (Hidden) (2005)
"Caché" (original title)

7.3
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Ratings: 7.3/10 from 45,985 users   Metascore: 83/100
Reviews: 346 user | 225 critic | 37 from Metacritic.com

A married couple is terrorized by a series of surveillance videotapes left on their front porch.

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Title: Caché (Hidden) (2005)

Caché (Hidden) (2005) on IMDb 7.3/10

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Director: Michael Haneke
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Cast

Cast overview, first billed only:
...
...
Maurice Bénichou ...
Majid
...
Georges's Mom
Bernard Le Coq ...
Georges's Editor-In-Chief
Walid Afkir ...
Majid's Son
Lester Makedonsky ...
Pierrot Laurent
Daniel Duval ...
Pierre
Nathalie Richard ...
Mathilde
Denis Podalydès ...
Yvon
...
Chantal
Caroline Baehr ...
Nurse
Christian Benedetti ...
Georges's Father
Philippe Besson ...
TV Guest
Loic Brabant ...
Police Officer No. 2 (as Loïc Brabant)
Edit

Storyline

Georges, who hosts a TV literary review, receives packages containing videos of himself with his family--shot secretly from the street--and alarming drawings whose meaning is obscure. He has no idea who may be sending them. Gradually, the footage on the tapes becomes more personal, suggesting that the sender has known Georges for some time. Georges feels a sense of menace hanging over him and his family but, as no direct threat has been made, the police refuse to help.... Written by Simon John

Plot Summary | Plot Synopsis


Motion Picture Rating (MPAA)

Rated R for brief strong violence | See all certifications »

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Details

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Release Date:

5 October 2005 (France)  »

Also Known As:

Caché (Hidden)  »

Box Office

Budget:

€8,000,000 (estimated)

Opening Weekend:

$17,800 (Chile) (8 September 2006)

Gross:

$36,151 (Chile) (15 September 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

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Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

Voted "Best Film of the Noughties" by UK newspaper The Times. See more »

Goofs

During the tape where Georges pulls up in his car and parks at night the headlights clearly cast a huge distinct shadow of the camera on the wall. See more »

Quotes

Georges Laurent: Isn't it lonely, if you can't go out?
Georges's Mom: Why? Are you less lonely because you can sit in the garden? Do you feel less lonely in the metro than at home? Well then! Anyway, I have my family friend... with remote control. Whenever they annoy me, I just shut them up.
See more »

Crazy Credits

The opening credits appear over a shot of the husband and wife's house, but they appear one by one and in rows. By the time the credits are over they are all shown together, much like they would on a poster or in the credits section of a movie trailer. See more »

Connections

References Van Helsing (2004) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Global Paranoia and Responsibility Made Very Personal
18 January 2006 | by (Queens, NY) – See all my reviews

"Caché (Hidden)" uses the visual power of film to create an escalating examination of contemporary paranoia and personal global responsibility the way Francis Ford Coppola's 1974 film "The Conversation" did with sound and fictional criminals.

Writer/director Michael Haneke plays visual tricks on the audience as voyeurs from the opening shot, much as he did with "Code Inconnu," as he coyly plays with technology, building on the pervasive surveillance potential of our times.

The comfortable upper middle class life of married intellectuals Daniel Auteuil and Juliette Binoche is more and more disrupted by spooky video and drawings from some kind of stalker. With a bit heavy-handed constant background TV news coverage about terrorism and other violence in the MidEast, as well as too much irony that Auteuil works on TV (evidently in yet another book discussion show like the central narcissist in "Look At Me (Comme une image)"), race is quickly introduced as a flash point in contemporary Paris from a brief street confrontation and reinforced with Auteuil's flashback dreams of his youth.

While the political angles are obvious, the Hitchcockian tension is very effectively built up (though not narratively resolved even as some secrets are revealed that lead to other inscrutabilities), not just as we see Auteuil repeatedly lie and Binoche practically disintegrate from nerves, but through sudden violence.

While we never understand who all is lying and who isn't, the film further plays on the truth that visual images don't in fact communicate the reality of a situation and can be misleading about relationships, particularly once paranoia has destroyed trust. The film also raises the question if people change their behavior if they know they are being watched and that you can't really hide from your past. Cynically, but perhaps honestly as opposed to in "Crash," here there is no easy resolution of acceptance of guilt and responsibility in personal lives any more than there is in the legacy of colonialism and racism.

Not only is the past never dead, but the film keeps repeating issues of not just am I my brother's keeper, but the sins of the father are revisited on the sons, such that it's important to keep watching even as the credits start to appear at the end (there was much shouting when some folks got up to leave too soon, blocking cryptic clues to those behind them).

The subtitles are very poorly done, with many scenes having them white on white, instead of the much easier to read yellow.


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Who do you think send the tapes? rustynail925
Ebert's Smoking Gun - Observation I Haven't Read Anywhere Else Yet westywales
What a lousy movie ! loyolite
Do the French have trouble apologizing for colonialism? Homer_Mandrill
fans of haneke are intelligent people bertdockx
What is all the discussion about + undiscussed point Joel_morley5
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