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Caché (2005)

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

Director:

Michael Haneke

Writer:

Michael Haneke

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28 wins & 34 nominations. See more awards »

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Cast

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

Set in France, Georges is a TV Literary Reviewer and lives in a small yet modern town house with his wife Ann, a publisher and his young son Pierrot. They begin to receive video tapes through the post of their house and family, along side obscure child-like drawings. They visit the police with hope of aid to find the stalker, but as there is no direct threat, they refuse to help. As the tapes become more personal, Georges takes it upon himself to figure out who is putting through his family through such horror. A true Michael Haneke Classic. Written by Jodie Norton

Plot Summary | Plot Synopsis


Motion Picture Rating (MPAA)

Rated R for brief strong violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Austria | Germany | Italy

Language:

French

Release Date:

17 February 2006 (USA) See more »

Also Known As:

Caché (Hidden) See more »

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Box Office

Budget:

€8,000,000 (estimated)

Opening Weekend:

$925,023 (France), 7 October 2005

Opening Weekend USA:

$81,211, 25 December 2005, Limited Release

Gross USA:

$3,634,407, 30 April 2006
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color

Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

This film was the official submission of Austria for the Academy Awards in the 'Best Foreign-Language Film' category, but was disqualified then because it was not "predominantly shot in the official language of the submitting country," but rather in French. The controversy that ensued over that - as well as the virtually simultaneous disqualification of Italy's submission of the Arabic- and Hebrew-language film Private (2004) - prompted the foreign language committee to enact a rule change the following year that made any language acceptable in a foreign language submission - hence Canada's submission of a Hindi-language film in 2007 (Water (2005)) and Australia's of a German-language film in 2012 (Lore (2012)). Any language, that is, except English. 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

Referenced in Nymphéas (2011) See more »

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User Reviews

 
Who's really looking?
31 August 2009 | by giorgiosurbaniSee all my reviews

We are, yes, we're the ones who look without really seeing and Michael Heneke, the veteran young director knows it. Paranoia and responsibility in a film that is as irritating as it is brilliant. Even the opening credits, small writing while a camera, still, very still, stares at an upper, middle class abode. An intellectual Hitchcockian exercise by a genial director who seems, at times, is playing with himself. He probably is doing it knowing that we're looking and tests our endurance without caring, really, whether we're with him or against him. What he, I believe, wouldn't tolerate is our indifference but, there is no danger of that. Love and hate. Admiration and ridicule. He will inspire all of that, at the same time by some of us, all of us, one way or another. The performances are all wonderful and there is a marvelous moment with the great Annie Girardot.


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