The White Ribbon
15, Nationwide
Michael Haneke’s The White Ribbon, which won the Palm d’Or in Cannes, is coldly manipulative and, in a way, probably quite facile but, God, it is good. It is so powerfully intriguing that, for 143 minutes, I did not shift in my seat, yawn, sigh, strain to read my watch or even drift into thinking what we might have for dinner (I’d already decided, anyhow; chops). It is set in a small village in Protestant northern Germany just before the first world war and, like Haneke’s other work — Hidden (Caché, 2005); The Piano Teacher (La Pianiste, 2001); Funny Games (er…Funny Games, 1997) — it’s the sort of film where you have to find your own way in and then your own way out again while trying to make sense of everything that happens in between.
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