A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits town, she finds out that their support has a price. Yet her dangerous secret is never far away...
After a car wreck on the winding Mulholland Drive renders a woman amnesic, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
Jackie works as a CCTV operator. Each day she watches over a small part of the world, protecting the people living their lives under her gaze. One day a man appears on her monitor, a man she thought she would never see again, a man she never wanted to see again. Now she has no choice, she is compelled to confront him.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
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
There is no music save for the theme on George's show. See more »
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 »
Isn't it lonely, if you can't go out?
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.
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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 »
Perhaps you will attend Caché to see what all the buzz is about. You will be disappointed. This is not a film to be enjoyed. It is not meant to entertain you. You should at some point in the film be confused, even angered, by what is happening. But you will think about it. A lot. Maybe, you'll start by thinking about the puzzling plot. You'll float a few theories about whodunit, may be even with the caveat, "not that it matters with such unlikeable characters." Then, in your search for answers, you might read comments like the one you're reading right now. You might read a review or two. You probably won't find the answer you're looking for, or maybe you'll find many answers. The point is that in searching for a resolution to complete the narrative, you will have gone over the clues over and over, replaying each scene in your head for meaning. You might even go back and watch the film again in the theatre. Now ask yourself honestly, whether you say you loved the film or hated it, how many films have had this kind of effect on you? It might irritate you that a film seemingly so simple has more effect on your memory than even your favourite films. For this, Caché deserves credit. Because in forcing you to question every frame, it has advanced its themes far more effectively than more traditional narratives. You will never forget that France and Algeria have a dark past. You will never forget how the terror the couple feels tears at the root of what they hold dear, and in doing so changes them into unsympathetic characters. That may not make for two hours of thrills, but it should get people to think about these issues. The real point the movie seems to be making is that in our rush to find clues to complete a narrative, we sometimes lose sight of what's going on. The director here turns us all into sleuths, scanning the foregrounds and backgrounds, by locking off the camera and not guiding us as to what to look at. (In this way, he makes us watch in the same way an autistic person would watch the film.) We're so wrapped up in this alleged mystery that we hardly question the motives of the alleged heroes. Is videotaping a home really terrorizing? After all, people videotape the kids' swim race. Where do these videotapes cross the line? No one is ever threatened or harmed by them. Rather it is the paranoia of the TV host, a person who deals in the editing and manipulation of images for a living, which lead him into following these leads. It is in his nature to mistrust the images. It is in his psyche to follow these tapes and the places they lead him. The farther he follows them, the farther his subconscious burdens him. His mother says she hardly remembers these incidents, but Georges has nightmares about them and constructs grand conspiracy theories about them. Yet when he confronts his childhood nemesis, Majid seems not to know anything of these tapes and is seen crying after Georges leaves. Georges is the one terrorizing him instead of telling him how guilty he feels, which would make him a lot happier. Majid subsequently does something even more shocking. So who's terrorizing whom? As hard as it may be, try to think outside the post-9/11 paradigm and just analyze the facts. The more you do this you will see that Georges is the architect of his own demise. He is not responsible for Majid's horrible actions, but he is responsible for not communicating his guilt with anyone, which might have prevented many of the events.
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