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Woman with a stern expression behind metal bars in an urban setting.
On Location

On Location: The concert house from Michael Haneke’s The Piano Teacher

by Adam Scovell

The ele­gance of the Vien­na Con­ser­va­toire per­fect­ly con­trasts the raw bru­tal­i­ty of Isabelle Huppert’s actions.
Lush greenery covers buildings in a European city street with parked cars and pedestrians.
On Location

On Location: The house from Michael Haneke’s Hidden

by Adam Scovell

The Aus­tri­an director’s 2005 thriller is built around the mys­tery of place, as a vis­it to this Parisian set­ting revealed.
Elderly man with a grey beard wearing a black jacket, standing indoors with a framed painting visible in the background.
Incoming

Michael Haneke’s next project will be a dystopian television show

by Hannah Strong

The Aus­tri­an mas­ter is set to make his small screen debut with a 10-part Eng­lish-lan­guage drama.
A group of people sitting at a formal dining table overlooking the ocean. The table is set with plates, wine glasses, and a floral centrepiece. The attendees are dressed in formal attire.
Review

Happy End

by David Jenkins

Europe’s refugee cri­sis back­drops this uncon­ven­tion­al fam­i­ly dra­ma from dead­pan mas­ter Michael Haneke.

4
Anticipation
4
Enjoyment
3
In Retrospect
A bearded man wearing red-framed glasses holds a tablet computer against a bright pink background.
Interviews

Michael Haneke: ‘I use the internet, but I don’t have time to waste on social media’

by David Jenkins

The Aus­tri­an auteur explains why he had to cre­ate a Face­book account for his new film, Hap­py End.
A group of people sitting at a formal dining table overlooking the ocean. The table is set with plates, wine glasses, and a floral centrepiece. The attendees are dressed in formal attire.
Festivals

Happy End – first look review

by David Jenkins

The new film by Michael Haneke is not hap­py and doesn’t have an end­ing. Oth­er than that, it’s har­row­ing busi­ness as usual.
A young man with dark hair sits on a bed, looking thoughtful.
In Praise Of

Why Funny Games remains just as shocking 20 years on

by Stephen Puddicombe

Michael Haneke’s home inva­sion hor­ror is a chill­ing satire of vio­lence in pop­u­lar entertainment.
Elderly woman with grey hair, reflective expression, set against a dark background.
Review

Amour

by David Jenkins

A pair of astound­ing per­for­mances are the pil­lars that prop up Michael Haneke’s for­mi­da­ble answer to the Hol­ly­wood weepie.

5
Anticipation
4
Enjoyment
4
In Retrospect
Black and white portrait of a young boy with a solemn expression, framed by a window.
Review

The White Ribbon

by Jonathan Crocker

Time will tell if this is Michael Haneke’s mas­ter­piece, but it’s cer­tain­ly one of the year’s best.

5
Anticipation
4
Enjoyment
5
In Retrospect
A young man wearing a white shirt sits on a sofa, embracing a small grey plush toy.
Review

Funny Games

by Matt Bochenski

Michael Haneke’s lat­est is an attack on every­thing you think you know about cin­e­ma. It’s a bru­tal beating.

1
Anticipation
1
Enjoyment
5
In Retrospect