Watch it now
as Georges Laurent
as Anne Laurent
as George's Mother
as Pierrot Laurent
as George's Editor
as Majid's Son
as The Orphanage Attendent
as George as a Child
as Majid as a Child
as George's Father, Young
as George's Mother, Young
News & Interviews for Caché
Critic Reviews for Caché
Austrian sadist Michael Haneke's most mainstream film to date is this exquisitely calibrated and jittery thriller.
This French film (in bad, washed-out English subtitles) is a quiet chiller. A family's social fabric unravels right before our eyes.
Caché encourages us to look -- and then to look harder.
Contrarian that he is, Haneke does a much finer job forcing questions than providing an answer.
Haneke's patient, tip-toed assault turns Caché from a little movie about spooked haute-bourgeois media personalities into a sneaky and effective exposé on the artifice of film.
Audience Reviews for Caché
Unresolved narratives are deal-breakers for many film viewers, and if you are one of them, this film will likely anger you greatly. For those willing to take on some heavy ambiguity, Haneke crafts a self-reflexive story about the relationship between film and memory, both good and bad.
A very well-acted, mysterious psychological thriller in which a family is terrorized by an anonymous stalker, who leaves violent drawings and video tapes consisting of following his victims around, at their doorstep. Director Michael Haneke inserts many of his calling cards here, such as prolonged scenes, a tense atmosphere, sudden acts of violence, and ultimately, an anti-ending. This formula works wonders yet again, as the viewer is never completely sure who to believe, as Haneke begins to slowly flip the script on his lead character (Daniel Auteuil) from likable to a figure who might indeed be hiding his guilt under his pride. The slow burn exercise he puts his viewers through ends on a cliffhanger, but one that is meant to encourage discussion instead of answer questions. Some will view it as boring and unrewarding, while, in my case, viewing this a second time, I was left in awe of how many questions Haneke was able to raise as a result. As far as performances go, Auteuil and Juliette Binoche are pitch-perfect, and they do a good job showing different sides to their characters. Ultimately, this is a film about an audience and how we view characters in films, and if this should be viewed as an "intrusion" or not.
The feeling of emptiness your heart receives in the end is close to unbearable.
There are no approved quotes yet for this movie.