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“... beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke. Funny Games (1997) is a violent melodrama about a respectable family set upon by nasty criminals, much as in The Desperate Hours (1955) or Cape Fear (1962). (Both films were remade in the 1990s, by ...”

“... not a mystery, because it doesn’t have a solution, only multiple, intimated causes. The plot of Michael Haneke’s Caché, on the other hand, is a mystery, because it has several solutions, all dull. The dullest is the one the director himself seems to prefer: there is no solution, and only unsophisticated viewers will worry about such things, instead ...”

“... Names that come up in this context tend to be better known to mainstream audiences: Neil LaBute, Michael Haneke, Lars Von Trier. But it’s Nelson’s thoughts about the stuff that flickers in the middle that bears most directly on writers of memoir. The idea, for example, that if we can see the artist is suffering, that makes it OK that the artist is ...”

“... of Walter Benjamin above all; with European cinema, from Murnau through Leni Riefenstahl to Michael Haneke; with Freud’s Moses and Monotheism; with mid to late Derrida; with Barthes, the decoder of the close-up face in cinema and the figure in the still photograph. She shows us the swaying edifice of Weimar as it goes down, and the horrors that ...”