Synopsis
A married couple is terrorized by a series of videotapes planted on their front porch.
Caché
Cast
Daniel Auteuil Juliette Binoche Annie Girardot Bernard Le Coq Daniel Duval Maurice Bénichou Walid Afkir Lester Makedonsky Nathalie Richard Denis Podalydès Caroline Baehr Christian Benedetti Loïc Brabant Aïssa Maïga Jean-Jacques Brochier Paule Daré Louis-Do de Lencquesaing Annette Faure Hugo Flamigni Peter Stephan Jungk Diouc Koma Marie Kremer Nicky Marbot Malik Nait Djoudi Marie-Christine Orry Mazarine Pingeot Julie Recoing Karla Suarez Jean Teulé Show All…
Director
Producers
Writer
Casting
Editors
Cinematography
Assistant Directors
Executive Producers
Lighting
Camera Operator
Production Design
Sound
Costume Design
Makeup
Hairstyling
Studios
Countries
Language
Alternative Titles
Hidden, 隱藏攝影機, Caché - Versteckt, cache, Saklı, Cache (Hidden), Hidden (Caché), Caché: Escondido, Caché (Escondido), 히든, Скрытое, El observador oculto, Kätketty, Niente da nascondere, Nada a Esconder, Rejtély, Utajený, Dolt hot, 隐藏摄像机, מחבואים, Κρυμμένος, Ukryte, Скришна игра, Приховане, Escondido, Giấu Kín, ფარული, 隠された記憶, เทปลับปมปริศนา
Genres
Themes
Releases by Date
Premiere
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France
Cannes Film Festival
26 Aug 2005
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Finland
Espoo Film Festival
03 Sep 2005
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USA
Telluride Film Festival
12 Sep 2005
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Canada14A
Toronto International Film Festival
28 Sep 2005
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Brazil
Rio de Janeiro International Film Festival
25 Nov 2005
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Greece
Thessaloniki International Film Festival
10 Mar 2006
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Argentina13
Mar del Plata Film Festival
Theatrical limited
23 Dec 2005
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USAR
Theatrical
05 Oct 2005
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FranceU
14 Oct 2005
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ItalyT
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Sweden15
26 Oct 2005
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Belgium
11 Nov 2005
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Poland16
18 Nov 2005
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Austria16
07 Dec 2005
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AustraliaMA15+
12 Jan 2006
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PortugalM/16
20 Jan 2006
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Spain
26 Jan 2006
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Germany12
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Greece
27 Jan 2006
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Ireland18
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Latvia
-
UK15
02 Feb 2006
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Netherlands16
09 Feb 2006
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Czechia 15
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Slovakia
10 Feb 2006
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Norway15
16 Feb 2006
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SingaporeNC-16
17 Feb 2006
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USAR
03 Mar 2006
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Turkey
30 Mar 2006
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South Korea15
27 Apr 2006
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Hungary16
28 Apr 2006
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Denmark
26 May 2006
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Brazil16
03 Jun 2006
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JapanPG-12
Releases by Country
Argentina
10 Mar 2006
- Premiere13 Mar del Plata Film Festival
Australia
07 Dec 2005
- TheatricalMA15+
Austria
18 Nov 2005
- Theatrical16
Belgium
26 Oct 2005
- Theatrical
Brazil
28 Sep 2005
- Premiere Rio de Janeiro International Film Festival
26 May 2006
- Theatrical16
Canada
12 Sep 2005
- Premiere14A Toronto International Film Festival
Czechia
09 Feb 2006
- Theatrical 15
Denmark
28 Apr 2006
- Theatrical
Finland
26 Aug 2005
- Premiere Espoo Film Festival
France
14 May 2005
- Premiere Cannes Film Festival
05 Oct 2005
- TheatricalU
Germany
26 Jan 2006
- Theatrical12
Greece
25 Nov 2005
- Premiere Thessaloniki International Film Festival
26 Jan 2006
- Theatrical
Hungary
27 Apr 2006
- Theatrical16
Ireland
27 Jan 2006
- Theatrical18
Italy
14 Oct 2005
- TheatricalT
Japan
03 Jun 2006
- TheatricalPG-12
Latvia
27 Jan 2006
- Theatrical
Netherlands
02 Feb 2006
- Theatrical16
Norway
10 Feb 2006
- Theatrical15
Poland
11 Nov 2005
- Theatrical16
Portugal
12 Jan 2006
- TheatricalM/16
Singapore
16 Feb 2006
- TheatricalNC-16
Slovakia
09 Feb 2006
- Theatrical
South Korea
30 Mar 2006
- Theatrical15
Spain
20 Jan 2006
- Theatrical
Sweden
14 Oct 2005
- Theatrical15
Turkey
03 Mar 2006
- Theatrical
UK
27 Jan 2006
- Theatrical15
USA
03 Sep 2005
- Premiere Telluride Film Festival
23 Dec 2005
- Theatrical limitedR
17 Feb 2006
- TheatricalR
Popular reviews
More-
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you can read this film as an exploration of guilt and privilege as it applies to a man's unwillingness to accept his part in both and how that man acts as a synecdoche for all of France, but i personally am choosing to read it as a story about one fucked up couple that was still using their VCR in 2005 and how their refusal to simply not watch VHS tapes led to ruin. haneke's in the pocket of big HD-DVD
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my fav haneke yet!!! consistently fascinated by the way he shoots his stories through such a clinical, cold, “objective” viewpoint, without sacrificing a dash of humanity — that talent is especially on display here, since the topic of surveillance plays such a key role. how is this movie both so dense and so sparse!?
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At this point, I should just tattoo Michael Haneke's name across my ass because he fucking owns it.
Caché is a tricky, tricky film, and Haneke is a tricky, tricky director. He loves to play games with his audience, much like a cat with a mouse. He relishes revealing the part we play as viewers, and consequently calling into question the act of viewership itself. Wheras Funny Games forces us to engage with our participation in film violence (specifically films of the tortue porn variety), Caché poses a question for the audience: is it possible that we are the stalker?
There's much to debate about who, exactly, is filming the tapes that terrorize the Laurent family. The brilliant final shot seems to be providing…
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This is from an assignment from my Art Philosophy class, hence why I mostly talk about the opening shot. I got an A.
I often argue for the importance of context in art, and this is one of the ultimate uses of it in film. The opening shot of Michael Haneke’s brilliant film Caché is at first mundane, then terrifying as it recurs throughout the film. It didn’t need to be artfully framed to serve its purpose perfectly and at first glance it isn’t, but, as is always the case with Haneke, there are myriad subtle things that add further to the disturbance.
The opening shot in question is of a domestic city street in France. It lingers for quite… -
that Leonardo DiCaprio pointing at the tv meme is me whenever I’m watching the ending of Caché
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Juliette Binoche nervously tearing up with an Eminem poster behind her... that’s the 2000s
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An eerie, punishing anti-thriller that takes colonial violence and the surveillance state and manifests it into a paranoid, guilt-ridden form of claustrophobia that intrudes on and threatens the private, comfortable existence of those who benefit from them. Haneke can be hit-or-miss when it comes to his observations on genre and white upper-class subjectivity/anxiety but this is his best in my mind because there's something really effective about how he merges the overt denial of horrible history and complacency in mistreatment here with the voyeuristic DV style that doesn't simply blur the distinction between reality and tape but makes image media itself an essential act of witnessing and preserving, and a direct counterpoint to the way that memory can deceive, or…
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Caché is so gripping, its dark tale of bourgeois guilt perfectly suited to Haneke's enchantingly brutal style. Everything here is too close to reality in an audio and visual sense, making it never feel quite right in the best way possible. Caché is a film about dredging up secrets and the way that guilt lingers and festers. The subtext about colonialism and society having never owned up to its wrongs from prior years is something everyone analysing Caché seems to draw upon. But I feel it extends beyond that to 21st century phenomena and consequences. There's more than one allusion to trouble in the Middle East, which seems a fantastic example of how past wrongs now bleed into our present.…
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“Young man, I refuse to be incriminated by you,” said every generation ever.
Be forewarned that this is one of those films over which the discussion tends to veer towards its purpose rather than its plot, which is not a novel concept when it comes to the filmography of Austrian filmmaker Michael Haneke. So, if you find yourself getting lost in the details of the mystery, you’re kind of missing the point (although they are relevant).
Caché (aka Hidden) finds a man and his wife being terrorized by a series of mysterious voyeuristic videotapes that are being periodically left at their front door. As the man grapples with the possible reasons behind this harassment, the truth of his past begin…
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This is not a review, but I just wanted to comment that I greatly appreciate when films don't spoon feed me the answers. Thank you, Mr. Haneke.
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