Three films by acclaimed Austrian director Michael Haneke, known as
his 'Glaciation' trilogy. 'The Seventh Continent' (1989) portrays
three years in the life of Georg (Dieter Berner), his wife Anna
(Birgit Doll) and their daughter Eva (Leni Tanzer), during which
time a psychological blindness leads to the family's
self-destruction. The film explores familiar Haneke themes: the
bourgeouis family unit, professional success and the price of
conformism. In 'Benny's Video' (1992), 14-year-old Benny (Arno
Frish) immerses himself in the universe of violent movies to fill
the void of his middle-class existence. When he invites a girl back
to his home, events take a fatal turn as he re-enacts the focus of
his video obsession: the shooting of a pig. The final film in the
trilogy, '71 Fragments of a Chronology of Chance' (1994), is a
mosaic of 71 film tableaux portraying a number of people and events
- otherwise unconnected - in the lead-up to a shooting spree
undertaken by an Austrian student at Christmas in 2003.
|Country of origin:
||192 x 137 x 24mm (L x W x T)
||5 hours, 5 minutes
Region 2. This DVD will play in all South African DVD players.
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Review This Product
Challenging films from an icy cold director.
Tue, 21 Apr 2015 | Review by: Michael S
Haneke is an odd bird, very successful, but essentially sadistic. He does not like his audiences much, and criticizes our assumed taste for violence in film by inflicting filmic violence on us, and then blaming us for watching it. He is also typically cruel to animals. In Benny, we keep seeing the killing of a pig, though the film explores how his parents matter-of-factly accept that he pointlessly killed a young girl, and tidy up after him. In Fragments we see the accidental intersection of a group of people at the wrong place and wrong time, when someone gets pushed over the edge and shoots people in a bank. In Seventh Continent apart from sheer cruelty to an aquarium full of exotic fish, we watch as a family apparently gets overcome by the pointlessness of their lives, and calmly and systematically sets about destroying themselves and all of their possessions. However, the scene that usually most deeply upsets audiences does not involve cruelty to people or animals, but to money. Ambiguous endings, as Haneke takes such great care not to resolve any important issues
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