Podcast appearances and mentions of Michael Haneke

Eu e o Adriano sentamos de novo naquele estúdio que ainda cheira a carpete novo para falar sobre uma coisa que, se você parar para pensar, é meio doentia: filmes onde pessoas morrem de formas criativas.O Adriano trouxe uma lista com dez filmes slasher. Eu percebi, enquanto ele falava, que o que me atrai nesses filmes não é a perfeição técnica. Na verdade, é quase o contrário. São as falhas, o baixo orçamento e aquela sensação de que o diretor estava tentando dizer algo muito sério com muito pouco dinheiro.Falamos sobre John Carpenter e Wes Craven, que são os nomes óbvios, mas também sobre Michael Haneke, que fez um filme que eu não sei se quero ver de novo, mas fico feliz que exista.No final, a gente ainda gastou um tempo considerável discutindo se Stanley Kubrick estava tentando nos avisar de algo em seu último filme antes de partir. E tem uma série polonesa sobre mandamentos bíblicos que o Adriano indicou e que parece ser a coisa mais triste e bonita que você vai ver este ano.Enfim. É só uma conversa. Se você tiver um tempo livre e quiser ouvir dois caras falando sobre o que faz um filme resistir ao tempo, o vídeo está aí. Se não tiver, eu entendo perfeitamente. A vida anda bem ocupada para todo mundo.

Frank, Anfang/Mitte 40, Lagerarbeiter, Familie mit zwei Kindern, mitten im Leben stehend, bekommt die schlimmste Diagnose, die man sich vorstellen kann. Ein Hirntumor, bösartig, ohne Aussicht auf Heilung. Seine Lebenserwartung, vielleicht ein paar Monate. Zusammen mit seiner Frau, der BVG-Fahrerin Simone, muss er darüber nachdenken, wie er dies seinen beiden Kindern Lily und Mika erzählen kann, wie er behandelt werden möchte, und ganz generell, wie seine letzten Wochen auf der Erde aussehen sollen. Neben der belastenden Strahlentherapie versucht die Familie so gut es geht, Alltag zu leben: Schule, Sport, gemeinsame Quality Time und ein Besuch im Tropical Island stehen auf dem Programm. Aber der Tumor macht sich stärker und stärker bemerkbar: Frank wird von Kopfschmerzen geplagt, verliert mehr und mehr die Orientierung und wird immer schneller zum Pflegefall. Die letzten Tage eines Menschen mit schwerer persönlichkeitsverändernder Krankheit: Andreas Dresen erzählt dies in Halt auf freier Strecke aus dem Jahr 2014 in einem realistischen, lakonischen Ton, der umso brutaler die Tragik der Situation offenbart. Immer dabei das iPhone, das den Familienalltag in intimen Nahaufnahmen einfängt. Auch immer dabei, der Tumor, zuerst als abstrakte Angst, dann als Terror im familiären Alltag, schließlich ganz real als Mann, der im Radio zu hören ist, in der Harald Schmidt Show auftritt und neben Frank im Bett schläft. Johannes, wir haben im Laufe unseres Podcasts schon so manches Tabuthema angefasst. Aber das größte Tabuthema überhaupt haben wir bisher nur in Liebe von Michael Haneke gestreift, und auch da fast so en passant. Deshalb muss ich dich jetzt erst einmal fragen. Fühlst du dich gewappnet, heute über das Sterben zu reden?

For our second Isabelle Huppert Acteurist Spotlight we have another first encounter with an auteur, Claude Chabrol, with the unfortunately translated Story of Women (1988), and take on Huppert's iconic performance in the also inaccurately translated The Piano Teacher (2001). Be prepared for harrowing subject matter and enigmatic behaviour as we discuss the inescapability of moral complicity, sexual aberration, and anti-romance. Then things get slightly lighter in Fear and Moviegoing in Toronto with our discussion of a 4K restoration of Howard Hawks' comedy masterpiece His Girl Friday. Time Codes: 0h 00m 25s:    UNE AFFAIRE DE FEMME aka STORY OF WOMEN (1988) [dir. Claude Chabrol] 0h 27m 11s:    LA PIANISTE (2001) aka THE PIANO TEACHER [dir. Michael Haneke] 0h 56m 19s:    Fear and Moviegoing in Toronto – Howard Hawks' His Girl Friday (1940) at The Revue Cinema (Designing the Movies series) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

O Festival de cinema de Cannes decorre até dia 23 no sul de França. Em competição nas curtas metragens da selecção oficial está o filme português "Algumas coisas que acontecem ao lado de um rio". Uma obra de Daniel Soares, realizador que já tinha sido distinguido em 2024 com uma menção especial para a outra curta com "Mau por um momento". Desta feita Daniel Soares põe em cena um corpo que flutua no rio, perante a impassividade das pessoas, distraídas com os seus afazeres. O cineasta começa por se declarar supreso com o facto de ter sido seleccionado uma segunda vez para a mais prestigiosa das mostras deste certame.   Para já, ficámos muito surpreendidos. Matematicamente falando, é muito complicado ter um filme seleccionado. Há dois anos acho que eram 4 700 filmes ou o quê que foram submetidos ! E os escolhidos este ano acho que são 3000 e tal e 10 escolhidos ! Então ou seja matematicamente é muito complicado e consegui-lo uma segunda vez é muito difícil. Então não estava com muita expectativa em relação a isso, voltar a ser seleccionado. Portanto, se calhar desta vez foi... A primeira vez é claro que é muito especial, mas da segunda vez já é "Espera aí ser selecionado uma vez, dá-te aquela sensação de "ok, consegui enganá-los, enganaram-se, sei lá !" E a segunda vez... pronto, se calhar há aqui qualquer coisa em que eu posso confiar mais na minha intuição quando escrevo especialmente.   Porém, se teve essa sensação de ter enganado alguém, acabou por sair de lá com uma distinção. Eles acabaram por lhe enviar uma mensagem, algo contrária de alguma fé, pelo menos no seu cinema. Então, mas agora que está seleccionado uma segunda vez, já teve a curiosidade de ver com quem é que vai estar a competir aqui nesta seleção das curtas metragens da competição oficial? Sim, desta vez. Pessoalmente, eu não conheço ninguém. Da última vez eu conhecia. Tinha um amigo que tinha sido seleccionado, desta vez pessoalmente, não conheço ninguém, mas já vi o filme do realizador do Vietname, uma longa metragem de que eu gostei muito na altura. Lembro-me de ver e vai estar com uma curta. "O sonho é um caracol", não é? Exacto. "Le rêve est un escargot", na tradução francesa do título original vietnamita. Ao fim e ao cabo Cannes, agora já conhece. Já podemos fazer um rescaldo. Como foi para si? Gostou de lá ter ido? Está entusiasmado por voltar? O que é que pretende fazer nesta edição?   Sim, estou entusiasmado. Gostei muito da primeira experiência. Se calhar agora, se puder, gostaria de ver mais filmes do que da última vez. Da última vez não consegui ver muitos filmes, mas isso talvez será assim uma coisa que eu tentarei fazer. É assim, há muitas reuniões também, não é que, que acontecem? Pois claro. Há todo um espectáculo que se calhar não é muito a minha cena, mas ao mesmo tempo é importante para dar visibilidade ao filme e aos próximos filmes e construir dessa forma, sei lá, um percurso que me permita continuar a fazer filmes, o que é sempre difícil. Por tudo isso. Pois é, isso é um lugar onde durante duas semanas o pessoal se encontra e celebra o cinema como em nenhum outro lugar, acaba por ser muito especial.   Vamos falar do seu filme "Algumas coisas que acontecem ao lado de um rio". Se calhar, antes de entrarmos na história, no argumento, falemos um pouco do elenco. Você foi buscar, por exemplo, valores consagrados do cinema português. Penso em Teresa Madruga, que já colaborou com pessoas como Manoel de Oliveira, Miguel Gomes, que são consagrados em Cannes. E depois há valores menos conhecidos. Por exemplo, os dois rapazes que dão corpo ao grupo de imigrantes e de estafetas que vão tomar banho no rio. Como é que foi pegar neste leque heterogéneo de pessoas para filmar esta obra?   Isto é um filme de elenco. E a ideia foi sempre essa. Foi misturar actores incríveis, como a Teresa, como o João Vicente e misturá-los com pessoas menos conhecidas. Para mim, estes dois estafetas não faria qualquer sentido que fossem actores profissionais, caras conhecidas, não é? Acho que isso muitas vezes te tira de um filme, de uma experiência ou te lembra que estás a ver um filme. Então a ideia foi essa, foi misturar e encontrar as pessoas que fossem as mais indicadas para aqueles papéis. E às vezes são, como no caso da Teresa, actrizes com uma grande história e outras vezes são pessoas que nunca estiveram à frente de uma câmara. E eu gosto desse...   É o caso do Dilip, é o caso do Amarjeet ? É o caso deles. Como é que os conheceu? Como é que chegou até eles?   Fizemos um casting de rua. Encontrámo-los em grupos de estafetas, onde eles se encontram muitas vezes em Lisboa há vários pontos onde eles se encontram, se juntam e aí foi sobretudo a Romina e o Tomás que lideraram esse processo. E foi assim que fomos encontrando essas várias pessoas. Alguns deles estavam interessados em fazer parte de um filme, outras nem tanto. Então, aí já houve assim uma primeira filtragem e depois foram chamados. Fizemos casting. Eu acho que com os dois escolhidos, O Dilip e o Armajeet fizemos três vezes casting para ter a certeza. E eu acho que eles saíram super bem. Tinha algum receio, sim, mas. Mas não correu tudo muito bem.   Já nos filmes anteriores você tinha filmes que podiam passar ou pelo menos ser interpretados como um retrato de alguma denúncia, de algum cinismo da nossa sociedade. Fosse, por exemplo, em relação à especulação imobiliária em torno da capital portuguesa. Aqui, nomeadamente, as pessoas estão demasiado preocupadas e não vêem sequer um cadáver que, de facto, está a flutuar no rio. É um pouco isso ? Você pretendia, de facto, pôr o dedo na ferida, não é? Em relação à forma como a nossa sociedade vive, como está estruturada ?   É assim, eu não acho que é cinismo. Eu acho que é, pelo contrário, se calhar. Ou seja, se calhar a ideia inicial tenha algo irónico, não é, isso sim. Agora o cinismo, acho que não. Porque se fosse cinismo, se calhar não faria um filme. Eu acho que é mais um olhar humano, só que pronto... Os personagens no filme estão assim, todos em piloto automático. Todos nas suas bolhas, sem com os seus problemas do dia a dia, sem conseguirem ver o corpo. Só que para mim era super importante de mostrar todas as classes sociais, mostrar todas as idades. Não acho que seja cinismo, porque eu acabei de encontrar um pouco de mim em todos esses personagens. Ou seja, não é de cima para baixo. Pelo contrário, eu estou aí também. Ou seja, eu também sofro desses problemas contemporâneos.   A dependência em relação aos ecrãs, às redes sociais, por exemplo.   Por exemplo. Sim, sobretudo isso. Mas não só. Muitas vezes, esta questão de não conseguir estar presente no momento e muitas vezes. Ou seja, de estar com as minhas filhas e estar preocupado com outras coisas e não conseguir estar ali, não é? Ou seja, fisicamente sim, mas com a cabeça sempre a pensar no futuro, já ou no passado. Também esta ideia da fragmentação de como consumimos filmes ou conteúdos, tudo cada vez mais rápido, o YouTube, Instagram, TikTok, tudo cada vez mais acelerado. E como muitas vezes os telefones já são donos de nós, do nosso foco, da nossa atenção. Esta era do "Short attention span" [Atenção de curta duração], esta coisa que é muito violenta, que aos poucos nos foi conquistando e que agora chegamos a um ponto que é para aí onde é que vamos a partir daqui, não é? Então não é um cinismo, porque existe uma esperança para mim neste filme.   A esperança são as crianças ?   E do amor pela vida. Não é que as crianças seja isso. É uma leitura do filme, que é esta coisa das crianças serem a solução ou, para um futuro melhor. Eles vão fazer melhor do que nós. Não sei o quê. Só que muitas vezes esquecemos que as gerações anteriores fizeram isso connosco, não é? Então, nós somos a geração do futuro, da esperança, da geração anterior. Então, acho que é muito fácil falar isso, achar que a próxima geração. Mas como ? Se nos vêem a viver desta forma, como é que eles vão de repente dar uma volta de 180 graus ? Eu acho que é mais na nossa geração ainda. Nós é que temos que encontrar uma forma de lidar com isso, de viver de uma forma diferente. Talvez seja quase uma ideia utópica, ou seja. Mas talvez não também, porque também não é assim tão utópico, não é? De tentar sair desse mundo digital e viver no mundo real.   E finalmente, que cinéfilo é o Daniel Soares? Mais que não seja em relação à sua trajectória que passa por Portugal, mas também, e em larga escala, pela Alemanha. Que tipo de filmes é que retém a sua atenção e que foram construindo o responsável de cinema que hoje é e que deve ter sido? Um cinéfilo de longa data, presumo ?   Por acaso, não por acaso, nunca cresci muito com cinema. Nunca tive ninguém que me mostrou filmes. Comecei a ver cinema, sei lá, uns sete ou oito anos atrás. Na verdade, até porque os filmes que eu via quando era criança não me revia neles. Sempre achei muito ter esta noção de estar a ver um filme e pronto. Mas sei lá, os primeiros filmes que eu comecei a ver que na verdade não têm muito a ver com os meus filmes que eu faço hoje em dia, mas foram os filmes do Kiarostami, que era o cinema que se calhar se aproxima um pouco mais...   Abbas Kiarostami do Irão.   Sim, mas por exemplo, o Michelangelo Franmartino. Eu lembro-me de ver o "Quatro volte" e achar que, sei lá. Primeiro ficaste super inspirado e ao mesmo tempo sentir que isto seria um tipo de filme que eu conseguisse fazer, mesmo sendo super complicado, obviamente. Eu lembro também Lisandro Alonso, primeiros filmes. Lembro me também do "Toni Erdmann", da Maren Ade. E aí já se aproxima, de certa forma, daquilo que eu faço, no sentido de já ser mais contemporâneo. Ter já esta comédia negra, se quiser falar assim, dessa forma. Ou seja, aí já se vai aproximando, se calhar, daquilo que eu tentaria fazer. Ou os filmes do [Michael] Haneke. Aí sim, também já. Se calhar já entra um bocado essa parte. Mais como estava a dizer, cínica, não é? Mas eu acho que apesar de tudo mesmo o Haneke, o que faz aquele tipo de filmes porque deve, imagino amar a vida, não é? Ou seja, para quê se não fazer um filme desses?   Chegou ao cinema tarde, mas tem dado nas vistas. E agora o facto de já ter sido distinguido em cana e de voltar a Cannes. A ideia para si agora seria de facto perseverar, Manter-se neste meio. Viver deste cinema que faz? Sim, esse é o objectivo. Estou agora a preparar uma longa que vamos filmar no próximo Verão. Não este ano. O ano que vem. E é isso. Sim, idealmente continuar a fazer filmes. Será em Portugal  a rodagem ? Sim, será em Portugal

Im neuen Q&A der Filmanalyse plus geht es über 100 Minuten lang um Fragen aus dem Publikum und um aktuelle Trends in der Bewegtbildproduktion. 2020 floppte die Kurzfilm- und Serien-App Quibi, doch jetzt plötzlich sind Mikro-Dramen – gemeint sind Produktionen, die deutlich unter 10 Minuten lang sind – das nächste große Business. Wie ist das Phänomen einzuordnen? Welche Bedeutung haben Kurzfilme? Weiter geht es um den kürzlich verstorbenen Filmemacher und Multikünstler Alexander Kluge, um gute Biopics von Richard Linklater und das Problem mit diesem Genre. Darüber hinaus spreche ich über Kristoffer Borglis Film „The Drama“, in dem Robert Pattinson und Zendaya ein Paar kurz vor der Hochzeit spielen, die jedoch auf der Kippe steht, als ein dunkles Geheimnis aus der Vergangenheit enthüllt wird. Schließlich geht es ausführlich um das Thema Latenz im Film. Der Begriff der Latenz ist im Zuge der KI wieder in aller Munde. Es lohnt sich, über Latenz in Filmen von Maximilian Schell, Michael Haneke und anderen nachzudenken. Mehr dazu im neuen Q&A der Filmanalyse plus! Literatur:Martin Walser. Der Augenblick der Liebe. Rowohlt.https://www.dwdl.de/industry/106121/branchentrend_sind_mikrodramen_ein_megabusiness/Die kompletten 95 Minuten des neuen Q&As gibt es wie immer mit einem Abo bei Steady, Patreon oder Apple.Steady bietet die Filmanalyse plus als Monats- und vergünstigtes Jahresabo an. Der RSS-Feed ist automatisch mit Spotify verknüpft, kann aber auch in alle Podcatcher eingefügt werden:https://steady.page/de/die-filmanalyse-abo/aboutApple-Podcast:https://podcasts.apple.com/de/podcast/die-filmanalyse/id1586115282Patreon (jedoch ist hier der RSS-Feed nicht mit Spotify verknüpft):https://www.patreon.com/c/wolfgangmschmitt/homeDie Filmanalyse +ABO kann man auch für ein Jahr verschenken: https://steady.page/de/die-filmanalyse-abo/gift_plansWas es mit einem Plus-Abo gibt: 1. DIE FILMANALYSE DEEP DIVE: In diesen monatlichen Podcast-Folgen gehen wir tief rein in ein Filmthema. Es geht dabei nicht nur um einen Film, sondern um mehr: mehr Theorie, mehr Kontexte, mehr Filmgeschichte! Und immer mit Lektüre-Tipps. Durch die intensive Auseinandersetzung mit dem jeweiligen Thema werden die Folgen deutlich länger sein als die üblichen Analysen. 2. DIE FILMANALYSE Q&A: Ich beantworte in den monatlichen Podcast-Folgen Fragen aus dem Publikum. Alle, die den Paywall-Inhalt abonniert haben, erhalten dafür eine spezielle E-Mail-Adresse und können Fragen stellen. Darüber hinaus möchte ich darin die Gelegenheit nutzen, Filme zu empfehlen.Darüber hinaus gibt es im Abo alle neuen, auch frei verfügbaren Filmanalysen ohne Werbeunterbrechung hören. Vielen Dank für Eure Unterstützung!

Dienstag, 18 Uhr, und wie immer zu dieser Zeit versauen wir euch die Laune und die bisher gut gestartete Woche mit einem neuen Podcast. Diesmal haben wir neben Starregisseur Billy Wilder und den Typen der Osage County gedreht hat auch zwei umstrittene Herren des Regiefachs im Gepäck: Michael Haneke und Larry Clark! Spicy Stuff...

Third chair RYDER joins us to talk about "The White Ribbon," Michael Haneke's exporation of the world's worst town, the horrible adults who live there, and the ways their misery warps their children. Nazi origin story, anti-patriarchical tract, or something more upsetting entirely? We discuss.  Check out the show on Letterboxd if you're into that thing. Matt is also on there. And we got a Bluesky going. Next episode: Undetirmined! 

FROM THE VOID: Home invasion by teens? You're in for scary scenes. Halle and Alison discuss Michael Haneke's 2007 Funny Games remake and use their comedy writing skills to offer some punch up. Learn more about your ad choices. Visit megaphone.fm/adchoices

HEADS-UP! Amour is beautiful but heavy (have the tissue ready!). Do you want to write gritty stories that leave readers grief struck long after they read THE END and close the book? Amour is a fantastic template for a complex moral problem that will never be resolved. This is another example of how a story can have an arc when the protagonist is constant. And Valerie does a stellar job of working out who or what the force of antagonism is and how the speech in praise of the villain applies when the antagonist isn't obvious. -M. Acquire the power to write a bestselling story at storynerd.ca/courses For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

HEADS-UP! Amour is beautiful but heavy (have the tissue ready!). Do you want to write gritty stories that leave readers grief struck long after they read THE END and close the book? Amour is a fantastic template for a complex moral problem that will never be resolved. This is another example of how a story can have an arc when the protagonist is constant. And Valerie does a stellar job of working out who or what the force of antagonism is and how the speech in praise of the villain applies when the antagonist isn't obvious. -M. Acquire the power to write a bestselling story at storynerd.ca/courses For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

Two dear friends and Film Festival colleagues attempt to bridge the gaps of their long-distance relationship — and their own film educations — through a bi-weekly screening and discussion project of the gap films that have eluded their cinematic discovery.On this week's call, Scott and Jack confront the quiet, digital dread of Michael Haneke's Cache (2005) — a surveillance-era domestic thriller that transforms bourgeois guilt into a slow, inexorable haunting.Follow Blindspotting on Facebook and Buzzsprout.

What if some dude who liked to make people feel bad directed a home invasion film that he felt showcased important elements of what's wrong with society, but confused which thing was more important to him along the way, but still managed to make a near masterpiece in the process? That's not rhetorical, I'm asking you. Please tell me. If you aren't familiar with Funny Games, you might want to read up on it a little before diving in. The artistry is in the execution, not in the surprises. And, God damn, if it isn't artistic. You might be surprised by our ratings on this most Austrian episode of Loathsome Things: A Horror Movie Podcast for people who want to get art but don't quite get art, so their sentences about how they feel about art just kind of trail off at the end. Description OVER!

A polite knock. A request for eggs. And then the floor drops out. Our latest dives into Michael Haneke's Funny Games (1997), a home-invasion thriller that refuses to play by genre rules. We unpack why this film still needles under the skin: the calculated pace, the suffocating silence broken by blasts of abrasive music, and the way two eerily courteous young men turn social niceties into weapons. We compare the Austrian original to the shot-for-shot American remake, outline what makes the original feel colder and more precise, and revisit the scenes that linger—especially that ten-minute single take after everything changes.We talk craft without flinching from discomfort. The acting carries a heavy load, with a mother's resolve and a father's helplessness flipping expectations of strength. We get into the moral engine of the film: fourth-wall glances that put the audience on trial and the notorious “rewind” that snatches away catharsis. Is it gimmick or thesis statement? We debate how the film confronts our appetite for violent payoff and whether the refusal to grant relief makes Funny Games uniquely unsettling among home-invasion stories like The Strangers and Eden Lake.There's practical talk, too—what choices doomed the family, which tropes still work, and how sound design manipulates stress without a traditional score. We also share production notes, from Cannes walkouts to the brutal demands placed on the lead actor to capture exhaustion on camera. If you value tension over jump scares, moral provocation over tidy endings, and filmmaking that weaponizes silence, this one's for you. Hit play, then tell us: did the “rewind” break the spell or make the horror unforgettable? Subscribe, share with a horror-loving friend, and leave a review to help others find the show. Head to www.screamsandstreams.com for more information related to our episode.

“There's a decent setup for a [Michael] Haneke movie here…” - Chris On this week's episode, the holiday fun continues with a wild conversation all about Krampus! Was the K-man one of the OG internet creepy pastas? Couldn't this film have a bit more teeth and not have been so beholden to nailing a PG-13? How many beloved Christmas movies is this movie being at once? Well done with the casting here, this flick is stacked with fantastic comedic actors which is a bonus. But, what's the deal with the gingerbread men having more screen time than Krampus? And what's with that Twilight Zone ending? PLUS: Cookie Puss holiday desserts for all! Krampus stars Adam Scott, Toni Colette, Allison Tolman, David Koechner, Emjay Anthony, Stefania LaVie Owen, Krista Stadler, and Conchata Ferrell as Aunt Dorothy; directed by Michael Dougherty. This week's episode is sponsored by Sonos! This holiday season, give the gift of Sonos sound! Discover how easy it is to bring every room to life with incredible sound. Explore Sonos speakers, soundbars, and more at sonos.com. And by Lumi Gummies! Lumi Gummies are available nationwide! Go to LumiGummies.com and use code WHM for 30% off your order. That's LumiGummies.com code WHM. Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.

When I went back and edited this episode with my guest, filmmaker Tom Koch, I realized: he's doing a color series of films! To put that much thought into his work as well as have the creative control to name his films is the perfect way to describe Tom: extraordinarily thoughtful, humble, and a guy capable of doing anything in his films: acting, writing, directing, accents, ballet even!His latest film, OLIVE (2025) is an absolute treat -- the logline "while caring for grandma, Sam, the character played by Tom -- begins to question the nature of their relationship" -- and it shows his mastery of the craft. He even knows war films, which is my unique quality. If he ever gets into indie film podcasting, I can't say I wasn't warned about how great he'd be.In this episode, Tom and I talk about:save some talent for the rest of us, Tom -- acting, writing, producing, directing, ballet?!;how he got started in acting;how his approach evolved from ORANGE (2024) to OLIVE (2025);writing a script and playing a character you weren't expecting to play;when writing, directing, and acting becomes a bit too much in indie films;the challenges of casting in a world that cares more about celebrity and follower count than actual talent;how much being a stage actor matters;what does he look for in actors when he's casting his own projects;the best way to think about OLIVE before watching;what excites him about "telling stories with a twist", the motto of his production company;the festival circuit for his films and what advice he has for film festivals;what he's working on now and when people can expect to see OLIVE;whether we'll see him behind a camera and his great eye for war films.Tom's Indie Film Highlight: AMOUR (2012) dir. by Michael Haneke; THE PIANO TEACHER (2001) dir. by Michael Haneke; THE WHITE RIBBON (2009) dir. by Michael Haneke; WARFARE (2025) dir. by Ray Mendoza; Alex GarlandMemorable Quotes:"Nobody saw a stage play or school play of mine...when I was seven and said, oh, that kid.""The big thing that I changed for OLIVE was that ORANGE was really a proof of concept." About acting in OLIVE: "And there was a part of me that thought it would make things easier because I didn't have to find an actor and I didn't have to tell them what Sam was, in a way.""Sadly we're in a world now where we're competing with so many different productions and so many different artists, and funding for film is getting a bit harder because I don't know if people trust the medium as much as before."More about acting: "It's one of the only jobs where people get placed in it out of nowhere when it requires so much training and people go to school for four years to...get better at acting and do like classical work. You would never do that with an athlete.""I don't think it's necessary to do stage to be a great screen actor.""You can take a little bit more liberties with a short...people are not really behind your butt saying oh, you can't write this, you can't write that. Oh, you have to change the ending because you're you're doing your own thing. So it's perfect for that.""It's a very hard and tedious process where the cards are not in your hands and you work for a year on something that you create with a group of people. You put it on a Vimeo link and you pray.""They've watched thousands of films and they picked a few, and they're like, go watch those.""I feel like the more I act, the better director I can become."Links:Follow Tom On InstagramFollow OLIVE On InstagramWatch ORANGE NowSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Filmmaker Heather Landsman joins to discuss Michael Haneke's Benny's Video alongside a conversation about her latest film, the archival documentary The Best of Me, which chronicles Björk stalker Ricardo López through unvarnished, segments of his 1996 video diaries, created as a means of sharing his ideological convictions and his plan to mail the pop singer a letter bomb. The film shares some thematic connections with Benny's Video, exploring the potentially radicalizing effect of culutral ephemera, how mediation both reflects and proliferates the atomization of late capitalism, and how the distancing effect of the camera abstracts the boundaries between the incorporeal and the material. We begin with a conversation about The Best of Me, its creation, and how we should understand the case of the deeply disturbed López. Then we discuss Michael Haneke, his perspectives on violence and the media, and we take on some of the common criticisms of his work as overly didactic or sanctimonious. Finally, we look at Benny's Video, it's considerations of mediated existence in the late 20th century, and it prescience with regard to the digital unreality we all inhabit online every day in the 2020s. More info on The Best of Me can be found here. Watch the trailer for The Best of Me. Follow Heather Landsman on Twitter.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish.

Werner Herzog deals in ecstatic truths. But are they truthful enough to deal with the brutal legacy of slavery and colonialism? We discuss COBRA VERDE, Herzog's last collaboration with Klaus Kinski, a movie about the slave trade and the little freaks who kept it running. Topics include: producing a shot with thousands of extras, Herzog and history, and, weirdly, Michael Haneke. Watch the movie here or on Criterion, who are doing a big Herzog retrospective right now. Here is an article about the movie that was interesting that I dont necessarily 100% agree with.  Matt's rec. Corbin's rec is in a weird release vortex right now but you'll be able to see it soon. Ryder recommends a food. Our next episode is about EDDINGTON. You can watch it on HBOMax if you're so inclined. Have a wonderful week!

[90✮ | D90 J90 ] Juandapo y Diego hablan sobre Funny Games (1997) de Michael Haneke, una película aburridísima que nos encantó. Una peli que nos pone en la cara lo violento que es ver violencia. ·

For Night 5 of our 31 Nights of Halloween, we break down Michael Haneke's Funny Games (2007) — the American remake that dares you to turn it off.We discuss: • Why Haneke remade his own film • The ethics of watching suffering • Naomi Watts' powerhouse performance • How the film punishes its audience • The infamous “rewind” momentThis isn't just a home-invasion horror movie — it's a full-on confrontation with what it means to watch horror at all.

Österreichisches Kino hatte lange mit Vorurteilen zu kämpfen. "Feel Bad Cinema", langweilige Bildsprache, spröde Zugänge. Eine neue Generation von Filmemacher:innen nähert sich zwar weiterhin ernsten Themen. Aber mit frischen Blickwinkeln. Der Grazer Florian Pochlatko ist ein Aushängeschild diesbezüglich. Sein Spielfilmdebüt "How to be Normal and the Oddness of the Other World" lässt berührende Emotionen und wilde Visionen, Arthouse und Popkultur kollidieren. Pia Reiser und Christian Fuchs reden mit dem cinephilen Regisseur, der in Kinos und Videotheken aufgewachsen ist, aber auch über seine Einflüsse und Sozialisation. Eine Episode voller Leidenschaft und Filmfieber, inklusive Zombies, Videospiel-Verfilmungen, den X-Files und dem Erbe von Michael Haneke. Sendungshinweis: FM4 Film Podcast, 22.09.2025, 0 Uhr

In this episode, we dive into the unsettling worlds crafted by Michael Haneke, breaking down Caché (2005) and The White Ribbon (2009). We explore how both films use ambiguity, surveillance, and silence to unsettle audiences while revealing the hidden violence beneath polite society. From the mysterious videotapes in Caché to the chilling undercurrents of repression and cruelty in The White Ribbon, we discuss Haneke's critique of bourgeois guilt, collective responsibility, and the roots of authoritarianism. Along the way, we unpack the films' visual style, recurring themes, and the ways they challenge viewers to confront uncomfortable truths rather than offering easy answers.___________________________________Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid.Intro Music by:⁠⁠https://soundcloud.com/ajax-blak⁠

Send us a textOn the podcast this time, Steven and Sean are fighting for our lives against two sadistic boys in short-shorts and white gloves. We watched the 1997 film from Michael Haneke, Funny Games.Fair warning to all the murderous monsters in psychotic golf attire out there: if any of you come to either Steven's or my house asking for any amount of eggs, you're going to be run off our respective properties.We're not joking around about that after watching this upsetting film. It's a perfect start to our month full of “fucked-up movies.” Oh, what a month it's going to be!(Recorded on June 27, 2025)Links to Stuff We Mentioned:Funny Games - The Movie Database (TMDB)Funny Games trailer - YouTubeSusanne Lothar — The Movie Database (TMDB)Ulrich Mühe — The Movie Database (TMDB)Arno Frisch — The Movie Database (TMDB)Frank Giering — The Movie Database (TMDB)Stefan Clapczynski — The Movie Database (TMDB)Funny Games (2008) — The Movie Database (TMDB)Caché (2005) — The Movie Database (TMDB)Amour (2012) — The Movie Database (TMDB)Lilo & Stitch (2025) — The Movie Database (TMDB)The Boys (TV Series 2019- ) — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show

The girls go back to where it all began, The Heartland. Ex boyfriends; football cheese; gaining it back; uber drivers; AI pornography and of course: a Fourth-of-July-vlog with the spirit of Emma Chamberlain and directorial proclivities of Michael Haneke (found on the official Deeply Unwell Youtube channel).Rot in bed with us this week on America's literal #1 podcast, Deeply Unwell.Subscribe to our Youtube Channel: https://www.youtube.com/@DeeplyUnwellBecome a Patron: https://www.patreon.com/c/Deeplyunwell

Bu bölümde eksiğin eksik olduğu yapıyı, yani psikozu Michael Haneke'nin La Pianiste filmi üzerinden okumaya başladık. Babasal işlev, annenin arzusu, jouissance, cinsellik gibi konuları söz konusu filmin ışığında ele aldık.Keyifli dinlemeler!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/psikanalizsohbetleri/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/PsikanalizS ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.oguzhannacak.com/⁠⁠⁠

NB: Oops, I meant 18th century. Also, Michael Haneke is Austrian after all.SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, subscribe to SECRET SHOW, join the group chat, and send me a poem for Listener Crit!Leave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 25 lines to sleerickets [at] gmail [dot] com Some of the topics mentioned in this episode:– Toni Morrison's 1993 Nobel Prize lecure– Leopards in the Temple" by Franz Kafka (couldn't find any good links, so here's the text Mark copy-pasted to me: “Leopards break into the temple and drink to the dregs what is in the sacrificial pitchers; this is repeated over and over again; finally it can be calculated in advance, and it becomes a part of the ceremony.“)– Returning the Sword to the Stone by Mark Leidner– Mark's Substack: Opaque Hourglass– Recitatif by Tony Morrison– Funny Games (1997 & 2007)– Hamlet– Julius Caesar– Jack Handey– Andy Kaufman– Plato– The Gettysburg Address– Amleth– The Tower of Babel– The Tree of the Knowledge of Good and Evil– Harold Pinter's 2005 Nobel Prize lecture– Chelsey Minnis– Juvenilia by Hera Lindsay Bird– A Field of Telephones by Zach Savich– Dogs of War by Mark LeidnerFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: In Future PostsBrian: @BPlatzerCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Following past discussions on confronting modern life through the eyes of children, this week's episode focuses on Michael Haneke's Palme d'Or-winning film, The White Ribbon, to contemplate the sinister art of making false claims to innocence.We also briefly discuss:The Innocents (1961) d. Jack ClaytonRemains of the Day (1993) d. James IvoryThe Zone of Interest (2023) d. Jonathan GlazerThe Conference (2022) d. Matti GeschonneckContact UsEmail: contact@jimmybernasconi.comInstagram: https://www.instagram.com/filmsfortoday/

In this very special bonus episode, Louis is joined by actor and writer Michael Cera. Michael tells Louis about his foul-mouthed run-in with Tom Cruise, nearly missing out on his role as Allan in Barbie, and the reason he never graduated from high school. Plus, Louis reveals which Superbad character he most aligns with…     Warnings: Strong language    Links/Attachments:    Film: The Phoenician Scheme (2025) - dir. Wes Anderson  https://www.youtube.com/watch?v=GEuMnPl2WI4    TV Show: Arrested Development (2004-2019) - Fox/Netflix  https://www.netflix.com/title/70140358    TV Show: The Office (2001-2003) - BBC   https://www.bbc.co.uk/iplayer/episodes/b00jd68z/the-office    TV Show: The Grubbs (2002) - Fox  https://youtu.be/knwPbzLWCNQ?si=9d10SEXncfPkrdaK    Film: Superbad (2007)  https://www.netflix.com/title/70058023    Advert: ‘Pillsbury Doughboy Commercial'   https://www.youtube.com/watch?v=dDEYPbfWY6I    Film: Year One (2009)  https://www.youtube.com/watch?v=4H_Eepvg3aU    Film: Ghostbusters (1984)  https://www.netflix.com/title/541018    Film: A Minecraft Movie (2025)  https://www.youtube.com/watch?v=wJO_vIDZn-I    Film: Anora (2024)  https://www.youtube.com/watch?v=p1HxTmV5i7c    Film: Funny Games (1997) - dir. Michael Haneke  https://www.youtube.com/watch?v=Ec-70W_K77U   Film: Benny's Video (1992) - dir. Michael Haneke  https://www.youtube.com/watch?v=18X_kyHW3G0    Film: White Ribbon (2009) - dir. Michael Haneke  https://www.youtube.com/watch?v=9JOXs8KEiDY    Film: The Castle (1997) - dir. Michael Haneke  https://www.dailymotion.com/video/x8hsui0    Film: Right Now, Wrong Then (2015) - dir. Hong Sang-soo  https://www.youtube.com/watch?v=wOE-Zznq_S4    Film: Yourself and Yours (2016) - dir. Hong Sang-soo  https://www.youtube.com/watch?v=48F7SkR8yew    Film: Claire's Camera (2017) - dir. Hong Sang-soo   https://www.youtube.com/watch?v=U4-C5L0TupE    Short Story: ‘My Man Jeremy' - Michael Cera  https://www.newyorker.com/magazine/2013/11/25/my-man-jeremy    Short Story: ‘Pinecone' - Michael Cera   https://store.mcsweeneys.net/products/mcsweeneys-issue-30    Book: True Grit – Charles Portis     Book: Masters of Atlantis – Charles Portis     Book: Dog of the South – Charles Portis     TV Show: Scenes from a Marriage (2021) - HBO    Film: Fanny and Alexander (1982)   https://www.youtube.com/watch?v=euGIHjc6C_Q    Film: Barbie (2023)   https://www.youtube.com/watch?v=pBk4NYhWNMM    TV Show: Garth Marenghi's Darkplace (2004) - Channel 4  https://www.channel4.com/programmes/garth-marenghis-darkplace    Film: Scott Pilgrim Vs. The World (2010) - dir. Edgar Wright   https://www.youtube.com/watch?v=7wd5KEaOtm4    Film: This Is The End (2013)   https://www.netflix.com/title/70264796    Documentary: Louis Theroux: Miami Mega Jail (2011) - BBC  https://www.bbc.co.uk/programmes/b011k0xx    Film: Rushmore (1998) - dir. Wes Anderson  https://www.youtube.com/watch?v=6ZVdXXG3KN8    Film: A Clockwork Orange (1971) - dir. Stanley Kubrick   https://www.youtube.com/watch?v=T54uZPI4Z8A&pp=0gcJCdgAo7VqN5tD    TV Show: Mr. Show with Bob and David (1995-1998) - HBO  https://www.hbo.com/mr-show-with-bob-and-david    Film: Bottle Rocket (1996) - dir. Wes Anderson   https://www.youtube.com/watch?v=JJPQ-NnjZR0    Credits:  Producer: Millie Chu   Assistant Producer: Maan al-Yasiri  Production Manager: Francesca Bassett   Music: Miguel D'Oliveira   Audio Mixer: Tom Guest  Video Mixer: Scott Edwards   Executive Producer: Arron Fellows       A Mindhouse Production for Spotify   www.mindhouse.co.uk     Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ben and Rob play ‘Funny Games', Michael Haneke's brutal shot-for-shot 2007 remake of his original home invasion masterpiece from ten years prior. Starring Naomi Watts, Michael Pitt, Tim Roth and Brady Corbet, ‘Funny Games' is a hauntingly cold movie about not only the holiday from hell, but of horror movies and why we watch them.But why did director Michael Haneke choose to remake almost exactly the same film he released ten years prior? Why do our villains keep breaking the fourth wall? Why do we enjoy such horrific films? And how does this all relate to Oscar darling ‘The Brutalist?!CONSUUUME to find out all this and much MUCH more!PLUS! We have a Patreon with EXCLUSIVE content just for you starting at just ONE POUND a month - click the link below!Find us on your socials of choice at www.linktr.ee/everymovieeverpodcast

Feature: Bleak Week returns for Year 4, we talk to programmers behind the festival This year marks the 4th year of the American Cinematheque’s Bleak Week: Cinema of Despair, a weeklong festival dedicated to screening films with dark and bleak themes. In this year’s lineup, you’ll find screenings of Michael Haneke’s English adaptation of Funny Games, the Soviet anti-war film Come and See, and Studio Ghibli co-founder Isao Takahata’s Grave of the Fireflies. You’ll also find that the Year 4 lineup includes introductions/Q&As with the likes of Bill Hader, Elliot Gould, and Brady Corbet. Outside of the usual festival screenings here in Los Angeles, the American Cinematheque has partnered with other arthouse theaters across the country, and even The Prince Charles Cinema in London. Joining us to discuss this year’s iteration of the festival is Chris LeMaire, lead programmer on the American Cinematheque’s Bleak Week, and Grant Moninger, American Cinematheque’s Artistic Director. We also have our critics, Charles Solomon, Claudia Puig and Peter Rainer, commenting on what about the festival has allowed it to garner interest. Bleak Week runs from June 1-7. You can find this year’s Bleak Week lineup by clicking here or on bleakweek.com

durée : 00:06:14 - Le Bach du matin du mardi 13 mai 2025 - Notre Bach du matin est un Bach cannois. En 2001, l'autrichien Michael Haneke adapte à l'écran la Pianiste avec Isabelle Huppert et Benoit Magimel. En bande son, Michael Haneke a choisi Schubert, Chopin... et Bach.

And we're back with another review discussion with myself, Andrew, and my colleague Nadine Whitney. In this episode, we discuss the work that we both did on the Umbrella releases of Eyes Without a Face and Hounds of Love, while also discussing the importance of the supplementary materials that come with physical media releases, alongside the work that goes into writing or creating essays for physical media releases.We also discuss other current releases from Umbrella, including Metal Skin, and the upcoming release Storm Warning.Our cinematic recommendations include Bob Trevino Likes It and Every Little Thing.Umbrella Entertainment are currently having a sale on their physical media, which includes a buy one get one free selection, and 30% off merch and select collector's editions, including Hounds of Love and Eyes Without a Face. To buy these editions, visit umbrellaent.com.au. After the discussion took place, Umbrella announced that the Michael Haneke set is back online with an additional film and extra bonus features.Follow Nadine Whitney on Bluesky and the Curb on Bluesky.If you want to find out more about the work we do on the Curb, then head over to theCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. Hosted on Acast. See acast.com/privacy for more information.

And we're back with another review discussion with myself, Andrew, and my colleague Nadine Whitney. In this episode, we discuss the work that we both did on the Umbrella releases of Eyes Without a Face and Hounds of Love, while also discussing the importance of the supplementary materials that come with physical media releases, alongside the work that goes into writing or creating essays for physical media releases.We also discuss other current releases from Umbrella, including Metal Skin, and the upcoming release Storm Warning.Our cinematic recommendations include Bob Trevino Likes It and Every Little Thing.Umbrella Entertainment are currently having a sale on their physical media, which includes a buy one get one free selection, and 30% off merch and select collector's editions, including Hounds of Love and Eyes Without a Face. To buy these editions, visit umbrellaent.com.au. After the discussion took place, Umbrella announced that the Michael Haneke set is back online with an additional film and extra bonus features.Follow Nadine Whitney on Bluesky and the Curb on Bluesky.If you want to find out more about the work we do on the Curb, then head over to theCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. Hosted on Acast. See acast.com/privacy for more information.

In this very giggly episode of BFGE, Emma shocks Sarah by warming up to Michael Haneke's infamous home invasion satire "Funny Games."  The ladies debate the film's artistic merit, Sarah reads angry zero star film reviews, and Emma urges audiences to #believewomen.Also in this episode:Sarah makes a bad investmentEuropean beef handsSarah apologizes to Emma for blocking her on instagramEmma's ready to stab any man that asks for a cup of sugarApologies for poor audio quality in the first half, it self corrects later.  We don't know how to work computer.#michaelhaneke #funnygamesLike our stupid lil movie parties? Please drop us a rating on spotify/apple and follow us on instagram at: https://www.instagram.com/brutalfilmgirlpod/

Eloise Ross jumped into the host seat this week to interview Australia's unofficial Merle Oberon expert, Rohan Spong. In light of the recent book, Love, Queenie: Merle Oberon, Hollywood's First South Asian Star and a new creative project Rohan is working on, they discuss Oberon's contribution to Hollywood. She was the first person of South Asian decent to be nominated for the Academy Award for Best Actress, though she spent her life pretending to be born in Australia and her heritage was only made public after her death.Thomas Caldwell also joined the show to discuss misanthropic critic of contemporary culture, Michael Haneke. The Austrian filmmaker's body of work is deceptively humanistic and will be celebrated in upcoming seasons from both the Melbourne Cinémathèque and ACMI, starting Wednesday 16 April and Thursday 17 April respectively.They review Tim Mielants's Small Things Like These, based on Claire Keegan's Booker Prize nominated novel. Starring Oscar-winner Cillian Murphy, the absorbing slow burn reveals the uncomfortable horrors lurking just below the surface of a small Irish town controlled by the Catholic Church.Tune in to Primal Screen each week at 7pm Mondays on Triple R 102.7FM.Triple R's April Amnesty is on now! Subscribe and donate to help keep our beloved community radio station on the airwaves for another year!When you support Triple R, you're supporting Really Real Radio – that means no algorithms, no playlists, no nonsense. Triple R is a champion of local culture and community, and a voice for music and ideas that may not be heard anywhere else. Best of all, when you subscribe during April Amnesty, you'll go into the draw to win a stack of amazing prizes! Subscribe and donate at rrr.org.au.

German-Austrian filmmaker Michael Haneke polarizes. On the one hand, his films are loved and praised by a wide audience — and have won many awards, on the other hand, they also cause controversy. His most famous works include “The White Band”, “Amour” and “The Piano Teacher”. Melbourne Cinématèque is dedicating a retrospective to the now 83-year-old. - Der deutsch-österreichische Filmemacher Michael Haneke polarisiert. Einerseits werden seine Filme von einem breiten Publikum geliebt und gelobt – und preisgekrönt, andererseits rufen sie auch Kontroversen hervor. Seine wohl bekanntesten Werke sind "Das weiße Band", "Amour" und "Die Klavierlehrerin". Jetzt widmet die Melbourne Cinématèque dem heute 83-Jährigen eine Retrospektive.

THE FARMHOUSE, 15min,. Australia Directed by Luke Creely A young woman, living alone in an isolated rural farmhouse, is haunted one night by a mysterious entity which forces her to confront her inner demons and traumatic past.https://instagram.com/_lcfilms Get to know the filmmaker: What motivated you to make this film? I have always been drawn to slow-burn horror cinema in the mould of Michael Haneke from Austria. His early films are fascinating explorations of the human psyche. This has inspired me from the beginning of my career. I am also very interested in pain and trauma as key themes in my films. So, my aim was to make a Haneke-style horror film that immerses the viewer and makes them uncomfortable as they observe a character who is alone and grappling with PTSD from a past traumatic event. What were your initial reactions when watching the audience talking about your film in the feedback video? The audience feedback video was excellent because the members who spoke understood the film and my intentions as director. They “got it”. And this means that I did what I needed to do as director. Their interpretations were interesting to listen to as well. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

SEASON 2 - EPISODE 133 - Lisy Christl - Costume Designer In this episode of the Team Deakins Podcast, we speak with costume designer Lisy Christl (CONCLAVE, ALL QUIET ON THE WESTERN FRONT, FUNNY GAMES). Originally from Bavaria, Lisy did just about everything she could do to avoid the film industry, and she shares several moments from her career when other filmmakers would not take her “no” as an answer. Lisy later reflects on her 10-year-long collaboration with director Michael Haneke, and she reveals the inspiration for the all-white outfits of the two men in FUNNY GAMES. We also discuss Lisy's work on CONCLAVE, and she reveals what inspired her to adjust the typical garb worn by the cardinals. During our discussion of her work in TIME OF THE WOLF, Lisy shares the costuming decision she made to bring the audience to the present in a scene that recalled a scenario out of the Middle Ages, and she reveals the lengths she and her team went to design silent puffy jackets out of consideration for the sound department. We also discuss Lisy's work in ALL QUIET ON THE WESTERN FRONT, and she describes how and why she empowered herself to make choices that may not have been exactly period appropriate. - This episode is sponsored by Aputure

durée : 00:06:14 - Le Bach du matin du mercredi 19 mars 2025 - Notre Bach du matin est un Bach de cinéma. En 2001, pour son film La Pianiste avec Isabelle Huppert et Benoit Magimel, Michael Haneke choisit Bach au clavecin, un enregistrement de 1955 avec Karl Richter et Eduard Müller et le groupe de solistes de la semaine Bach d'Ansbach.

PUBLIC VERSION. Filmmaker Pascal Plante (RED ROOMS, NADIA BUTTERFLY) joins Adam and Joe to discuss his career journey and the making of his new crime/horror/mystery film. From seeing Michael Haneke's CACHE as a teenager and the other films that inspired him to become a filmmaker… to working in countless positions on dozens of short films on his way up before helming his first feature NADIA BUTTERFLY (2020)… to finding inspiration for RED ROOMS from people who obsessively follow true crime and even go so far as attending various trials… to writing the film while isolated during the pandemic… to his bold choice to only let the audience hear the gruesome crimes and witness various characters' reactions to the violence rather than actually show it on screen… to the breathtaking and highly motivated long takes that relied on camera movement and performance to tell the story in certain scenes more so than the actual editing… to creating two characters that are obsessed with a criminal trial yet writing both of them without bias or judgement…  to his low tolerance for sadism in films or showing gore for the sake of gore alone… Pascal's RED ROOMS (available now on digital and Blu-ray) is one of the best crime/thrillers of the last year!

Filmmaker Pascal Plante (director of Red Rooms, one of our favorite movies of the year) joins to discuss Spanish filmmaker Alejandro Amenábar's 1996 debut, Thesis. While riveting simply at the topical level of its tense genre thrills, the movie also metatextually concerns itself with the moving image as a mediated reflection of our corporeal realities, the push-pull of commercialism and artistry, and the ethics of satisfying a violent culture's sublimated desires for shocking, exploitative imagery. We discuss Amenábar's preternatural capacity behind the camera; how his ability to mystify with the language of cinema allows viewers to recognize their complicity in the film's graphic scenarios as spectators while never sacrificing the raw thrills of moviegoing. Then, citing Michael Haneke's writing, we discuss the nature of violence in media, the responsibilites of the artist, and the morbid concept of mindless entertainment. Finally, we connect the film's subject matter to that of Pascal's latest, discussing parallels, distinctions, and the reward of watching films that assume their audience's intelligence. Red Rooms is available now on VOD and on Region A Blu Ray from Vinegar Syndrome.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Hear the rest of the fun on our weekly bonus After Hours ep. every week: https://patreon.com/beerandamoviepodcast All good things must come to an end, so we celebrate the final 2024 All Horror October episode with two Nineties Nightmares! Two very different nightmares with Peter Jackson's comedy/blood-soaked Braindead (aka Dead Alive) and Michael Haneke's anti-horror treatise Funny Games. Adam Beam is back and lends his encyclopedic horror knowledge to the terrifying proceedings.  Our final Octoberfest of the season from Tupps Brewing and our first (and hopefully only) pumpkin beer of the season from Saint Arnold Brewing Co. 

This week, Drusilla and Josh watch the punishing Michael Hanake film, Funny Games (Austrian version.) From wiki: “Funny Games is a 1997 Austrian psychological horror-thriller film written and directed by Michael Haneke, and starring Susanne Lothar, Ulrich Mühe, and Arno Frisch. The plot involves two young men who hold a family hostage in their vacation home and torture them with sadistic games. The film was entered into the 1997 Cannes Film Festival.[3] A shot-for-shot remake, filmed and set in the United States, was released in 2007, also directed by Haneke, this time with an English-speaking cast and a mostly American crew.”Also discussed: intrusive thoughts, diner waitresses in horror movies, Drusilla's The Grifters cover for Criterion, Point Blank, The Split (1968), Threads (1984), NEXT WEEK: The Halloween Special! A highbrow/low brow double feature of Bones and All (2022) and Nothing But Trouble (1991), When the Wind Blows, moralism, Sleepaway Camp, misogyny in horror, Brian De Palma, JAFAs, GLOW, Speak No Evil, and more!Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Nous avons des grands-parents

We're spending a lot of time around France and ‘ol Gay Paris for September's theme of EUROPEAN VACATION because Bob has a lot of French DVDs that he's been holding on to for a while that need to be watched. We finally get to a movie by the notorious Austrian director Michael Haneke and if his other movies hit like this one? Well, we may need more uncomfortable Haneke movies to watch in the future. France, like many European nations, has its ghosts that it doesn't care to speak much on. Too much emotional inconvenience. Some things should stay in the past. But then you get videos of your apartment from the outside. Violent drawings as though they were done by a child. You got your suspicions but it's too emotionally inconvenient to explain. We can take care of it. Confront it. Surely it can be firmly resolved and you can keep what needs to be hidden where it belongs, right? The past is so inconvenient. Why can't the past understand that it was a long time ago? We're talking Haneke's 2005 modern thriller “CACHé” starring Daniel Auteuil and Juliette Binoche. It might not be what you think and it might not be about what you think. What should be our next Haneke movie to discuss down the road? Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

HORROR WITH SIR. STURDY EPISODE 504 GAME OF TERROR: UNPACKING FUNNY GAMES   ARE YOU READY TO GET SLICIN & DICIN WITH SIR. STURDY HORROR FANS? IF YOU DON'T KNOW BY NOW I AM YOUR HOST SIR. STURDY.   Welcome back to "Horror with Sir. Sturdy," where we delve into the chilling depths of cinematic horror. In this episode, we're dissecting the 1997 psychological thriller "Funny Games," directed by Michael Haneke. This film, a disturbing exploration of violence and manipulation, stars Susanne Lothar, Ulrich Mühe, and Arno Frisch. Join Sir. Sturdy as we unravel the narrative where two young men invade a family's vacation home, subjecting them to a series of sadistic games. This Austrian film, released on March 14, 1997, offers a stark commentary on media violence and the spectator's role in cinematic cruelty. Discover how "Funny Games" challenges viewers' thresholds and expectations.  

Listen as Daniel and I discuss teaming up with Pete Woodhead to compose the score for Shaun of the dead, Michael Haneke films, working on the behind the scenes documentaries on some of Edgar Wrights other films, his favorite Horror movies, and much more on this week's episode! Open Yellow Circle : https://openyellowcircle.bandcamp.com/album/new-meridian Tidewater Horror Convention : https://tidewaterhorrorconvention.com/ To Support the Podcast : https://www.patreon.com/Horrorflicksguitarpicks

Our good friend Will joins the show to discuss Michael Haneke's THE PIANO TEACHER. CW: this episode contains some discussion about graphic content.

This month we're just wild about Siobhan Fallon Hogan. You Might Know Her From Men In Black, Forrest Gump, Dancer in the Dark, Dogville, The House That Jack Built, Shelter in Solitude, Rushed, Holes, Seinfeld, and Saturday Night Live.  Siobhan gave us all the goods: from iconic dialect work in your favorite movies to her years-long collaborations with Lars von Trier. Siobhan spilled on doing bits while performing in Shakespeare in the Park, having fart competitions with Ben Gazzara on the set of Dogville, and getting horrifically killed by Matt Dillon in The House That Jack Built. We also got to talk about her turn as a screenwriter of two indie films: Rushed and Shelter in Solitude (both avail to stream now), and how her Catholic values inform all her work. A true delight from start to finish! Just feel better knowing that Lauren Bacall once asked, “Will we ever work again?” and know you are not alone! Love you mean it!  Also, please note we recorded this before we both texted each other “O.J. Simpson is dead!” so yeah, O.J. Simpson is dead and maybe we conjured it by talking about his acting and prison work.  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Earthquake in NYC Anne loves disaster films: The Poseidon Adventure, The Towering Inferno, Earthquake, Airport The Day After Tomorrow, Deep Impact, Daylight  Should we do a disaster movie watch on Patreon? Vote here Howard Stern is ALIVE (one of his guests, Crazy Cabbie died and Ralph misreported it) Ralph told me Kelsey Grammar was a statutory rapist and Liam Neeson racist Is Kate Middleton alive? Siobhan's famous scene in Men in Black Was Phoebe in Shakespeare in the Park's As You Like It with Nancy Hower and Viola Davis. Directed by Adrian Hall Appears in 3 of Lars von Trier's movies: Dancer in the Dark, Dogville, and The House That Jack Built He created a style of filmmaking called Dogme 95, where no director is credited, handheld, 35mm, etc. Wrote and directed two movies, Rushed and Shelter in Solitude  Appeared in Michael Haneke's Funny Games, which fucked Anne up Became friends with Lauren Bacall on the set of Dogville Matt Dillon kills her horrifically in The House That Jack Built Siobhan is a very serious Irish Catholic, and that informs all of her film choices.  She got a rubber suit made of her body so it could be dragged behind a truck Wrote solo shows for herself to get more work Went to Le Moyne College in Syracuse, NY Siobhan was on SNL the 1991-92 season. Delta Delta Delta SNL sketch w/ former guest of this show, Melanie Hutsell Siobhan good friends with former SNLers, Chris Farley and Ellen Cleghorne Roseanne Arnold and Tom Arnold were decent SNL hosts, Jason Priestley sweet, Sharon Stone didn't get it Siobhan on 3 classic episodes of Seinfeld as Elaine's roommate How did Siobhan not get cast as Mark Wahlberg's sister in The Fighter? Bernie Mac put on fake teeth to go into hiding during filming of What's the Worst That Could Happen? Plays Henry Winkler's husband in Holes Played secretary in The Paper, Golden Girls, The Bounty Hunter, New in Town Appeared in a film from the genre Anne calls, “Men's Coming of Death.” This one was titled Going in Style, directed by Zach Braff Would cast Lily Tomlin, Diane Keaton, Shirley MacLaine in her own Women's Coming of Death  

Ain't nothing funny about these games! We aren't playing around regarding The Call is Coming from Inside the House month! We dive head first into Michael Haneke's Funny Games (1997), where being at the wrong place at the wrong time bites you in the ass. So, invite us in and allow us to gather some of your eggs as we play a funny game with the whole family.  Next movie: The Invisible Man (2020) Follow Shelby: Instagram Twitter ————————————————————— Want to keep the horror chats alive? Do you want to join a super awesome community that loves the genre and Knight Light? Want to have access to exclusive content? It sounds like you should join our Discord!  For as little as $2 a month, you can access Knight Light's full-month release schedule and participate in polls to choose the last film of the month! Click our Patreon link below to learn more about our tiers. —————————————————————  Gain access to our Patreon-exclusive show, MidKnight Hour, by signing up on our Patreon. Still on the fence? Sign up for a 7-day trial, and if you like what we offer, stick around! Want to be a part of the growth of Knight Light? Please support us at these links! PATREON | TWITTER | DISCORD | INSTAGRAM | PRINCE | FREDDY Learn more about your ad choices. Visit megaphone.fm/adchoices

Buckle up because we're kicking off "Toxic Masculinity Month" with a doozy: Michael Haneke's polarizing 1997 home invasion film Funny Games (but it's okay if you watched the remake instead because they're the exact same film). Helping us parse through these waters is Justin Nordell! Join us as we offer a brief primer on Haneke before going all in on this twisted and cruel little film that holds a mirror up to its audience and makes us question the responsibility of media when it comes to violence. From the fourth wall breaks to the infamous rewind scene, Funny Games is one of the most satisfying, if infuriating, viewing experiences you're ever going to have. Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Justin: @jnordell / Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices