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

7.3
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Ratings: 7.3/10 from 44,059 users   Metascore: 83/100
Reviews: 344 user | 223 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)

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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 »

Parents Guide:

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Details

Official Sites:

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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:

Sound Mix:

|

Color:

Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

There is no music save for the theme on George's show. 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 The Chronicles of Riddick (2004) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Reflective probing of hidden guilt, but definitely not top-notch cinema
13 December 2005 | by (Trivandrum, Kerala, India) – See all my reviews

Michael Haneke's film begins as a clinical, psychological and social study of a respectable individual in European society. It ends as a study of a larger contemporary European segment of its population. It reminds one of the early works of Fassbinder—only Haneke's production values are more sophisticated. The camera becomes a character—a major one at that. This reminds the viewer that he is watching cinema at several junctures and that s/he is part of the communication/entertainment process. It makes you constantly ponder if the cinema you are watching is providing truth or lies (or something in between) 24 frames per second. The fixed-medium range shots that opens and closes the film indicate the view and mood of the director--clinical, somewhat distanced and unshaken by the story he unfolds. We also notice that what we are seeing, might not be what we think we are seeing. Antonioni did this to us in "Blow up" several decades ago.

After the screening at the on-going Dubai film festival, I was amused at the director carefully distancing himself from a situation where he could have resolved the issues—-he prefers to leave it to the viewer to do so. In a way the entertainment continues after the screening if you choose to reflect on what you saw.

At the obvious level, it is a study of colonial guilt of Europe and race relations. At a deeper level, it probes complacency and bourgeois temperaments of the financially secure classes in society. Escape from reality comes from closing curtains, shutting off the outside world and consuming sleeping tablets. At another level, the film explores the attitudes of three distinct generations towards social relationships.

Haneke uses graphic shocking violent scenes to jolt the audiences when they least expect it. He seems to enjoy the process. His strength is not in his cinema (Kubrick, in comparison, was brilliant at this game). Hanneke's strength lies elsewhere—eliciting fascinating performances from his cast. Daniel Auteuil, Julliette Binoche, Maurice Benichou and Annie Girardot were simply fascinating to watch.

The strength of the film lies in the subject that will disturb anyone. Many of us have something in our past that we wish to hide or not discuss. Yet there is a conscience in us that nags us to believe that there was a witness to that wrongdoing--a witness who cannot be buttonholed. It is this psychological fact that makes the film tick, much less its cinematic flourish.


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Message Boards

Recent Posts
Ebert's Smoking Gun - Observation I Haven't Read Anywhere Else Yet westywales
Who do you think send the tapes? rustynail925
What a lousy movie ! loyolite
Devastating, heartbreaking, and the title is ironic Keely
fans of haneke are intelligent people bertdockx
What is all the discussion about + undiscussed point Joel_morley5
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