Regrettably, Michael Haneke's film, set in Vienna, crosses the subtle border line between psychological drama and psychiatric case-study. While we may watch the movie, with a mixture of fascination and discomfort, to see what music teacher and accomplished pianist Erika Kohut (Isabelle Huppert) will do next, there is little point in wondering why she does it, since the reasons for her irrational behaviour seem to be buried deep in her psyche, and have little to do with the circumstances or people around her. Initially, we may deduce that her behaviour is due to her domineering mother (Annie Girardot); but later we may think that her mother is more victim than perpetrator.
To be specific, Erika's behaviour includes self-mutilation, voyeurism, sadism, masochism, and exhibitionism in the sexual arena; as well as cruelty, harshness and hypocrisy in her everyday life. True, several of these traits are probably only latent, until Erika encounters Walter (Benoit Magimel), a brash young pupil, who genuinely finds her attractive, and is only too willing to have the straightforward sexual coupling with her, that many would think she truly craves. But instead, she will only settle for an unconventional liaison, that she then finds herself unable to fulfil. The film ends with a gesture that I won't give away because it would rank as a "spoiler", but which in any case is as puzzling as most of Erika's conduct.
A definite reason to see the movie is for Huppert's brilliant performance. One has to admire the sheer dedication to her art that led an actress of her calibre to accept such an unpleasant and unsympathetic role (and probably for money that would count as small change in Hollywood). You might think another plus would be the piano music, mostly Schubert. But, to my ear, apart from a bravura piano duet, much of the music is heavy and unattractive, though I don't know whether this is due to the choice of pieces or their execution.
To be specific, Erika's behaviour includes self-mutilation, voyeurism, sadism, masochism, and exhibitionism in the sexual arena; as well as cruelty, harshness and hypocrisy in her everyday life. True, several of these traits are probably only latent, until Erika encounters Walter (Benoit Magimel), a brash young pupil, who genuinely finds her attractive, and is only too willing to have the straightforward sexual coupling with her, that many would think she truly craves. But instead, she will only settle for an unconventional liaison, that she then finds herself unable to fulfil. The film ends with a gesture that I won't give away because it would rank as a "spoiler", but which in any case is as puzzling as most of Erika's conduct.
A definite reason to see the movie is for Huppert's brilliant performance. One has to admire the sheer dedication to her art that led an actress of her calibre to accept such an unpleasant and unsympathetic role (and probably for money that would count as small change in Hollywood). You might think another plus would be the piano music, mostly Schubert. But, to my ear, apart from a bravura piano duet, much of the music is heavy and unattractive, though I don't know whether this is due to the choice of pieces or their execution.