Das weiße Band (2009)

Calificación de los usuarios:

(esperando 5 votos)

Director:

Michael Haneke

Guionista:

Michael Haneke (writer)

Fecha de Lanzamiento:

2009 (Austria)

Género:

Drama | Guerra

Plot:

Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism? |

Plot Keywords:

Underwear | Color In Title | Children | Sweat

Premios:

3 wins

Comentarios de los usuarios:

Exquisite and brooding mood-piece

Reparto

Susanne Lothar
Ulrich Tukur
Burghart Klaußner
Josef Bierbichler
Marisa Growaldt	...	Magd
Christian Friedel	...	Lehrer
Mercedes Jadea Diaz	...	Evas Schwester
Janina Fautz	...	Erna
Michael Schenk
Steffi Kühnert
Sebastian Hülk	...	Max
Theo Trebs	...	Ferdinand
Leonard Proxauf	...	Martin
Paraschiva Dragus
Maria-Victoria Dragus
Leonie Benesch	...	Eva
Michael Kranz	...	Hauslehrer
Hanus Polak Jr.	...	2. Kriminalbeamter
Anne-Kathrin Gummich
Leonard Boes
Ursina Lardi	...	Baronin Marie-Luise
Kai-Peter Malina	...	Karl
Enno Trebs	...	Georg
Levin Henning	...	Pfarrerssohn Adolf
Sara Schivazappa	...	Nursemaid
Lilli Trebs
Marvin Ray Spey	...	Hans
Vincent Krüger
Ole Joensson
Aaron Denkel
Thibault Sérié	...	Gustav

También conocida como:

A White Ribbon (Europe: English title)
Le ruban blanc (France)
The White Ribbon (International: English title)
The White Tape or the Teacher's Tale (International: English title) (working title)

Duración:

144 min

País:

Austria | Alemania | France | Italy

Idioma:

Alemán

Color:

Negro y Blanco

Locaciones de Filmación:

Leipzig, Saxony, Germany

Compañía:

Wega Film

Trivialidades:

Michael Haneke planned this movie with Ulrich Mühe as the main character of a school teacher.

Exquisite and brooding mood-piece

Few film auteurs can match the consistency of Michael Haneke, and once again the Austrian filmmaker has come up trumps with an exquisite and brooding mediation on repression, tradition and the sins of the father.

Shot in stunning black and white, the film chronicles a series of mysterious events in a town leading up to the outbreak of WWI. The pace is slow and thoughtful, and the film is reference to August Sander while being a respectful throwback to the German expressionists whose work would come out of the horrors the film's narrative seems to foreshadow.

The hallmarks of Haneke's body of work are all there – elegiac tone, clinical editing, wincingly frank dialogue – but in many ways The White Ribbon stands alone in the canon. It is a challenging work that will polarise audiences but represents a breathtaking new wave not just in the director's career but in European cinema.

Some might say the film's inherent flaw is that there is no-one to root for, but this is perhaps its key strength. It's certainly plausible that this is Haneke's intention: he wants to position us as mute outsiders to a slowly creeping menace, unable to have a say in the invisible horrors that await us. The result is a deadening and thoroughly rewarding experience - a combination few filmmakers could hope to achieve.