The Castle

When Anna and her family arrive at their holiday home, they find it occupied by strangers. This confrontation is just the beginning of a painful learning process.

The disabled ex-soldier Andreas Pum lost a leg for emperor and father land. After leaving the army he receives a license and a drehorgel. One day he gets into a controversy with a welldressed gentleman, disturbs the public order, and hits a policeman. Andreas Pum goes to jail, loses his license and becomes toilet guard in the Cafe Halali after his release. Only at the moment of death he recognizes that he was always too decent and too obedient.

A middle-class family living in Calais deal with a series of setbacks while paying little attention to the grim conditions in the refugee camps within a few miles of their home.

A 14-year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents.

Described as an answer to Fassbinder’s The Marriage of Maria Braun, Fraulein tells the story of a German woman and a former French prisoner of war living in 1950s Germany. Instead of playing a role in rebuilding her country, Haneke’s heroine remains preoccupied with her personal affairs.

This two-part drama examines the fate of Haneke’s own generation which came of age after World War II. The first part depicts the generational gap between 1950s teenagers and their parents while the second shows this same group of characters twenty years later as they have grown up to be dysfunctional and suicidal adults. Regarded as the most significant of Haneke’s early works, Lemmings contains incipient treatments of many of the themes he would later elaborate on in his theatrical features.

The emotional story of an adulterous relationship between a journalist and a teacher.

A modern classic filled with new Avant-Garde techniques never seen before.

Autumn 1990. A young Austrian goes to a party held by some of his friends and provokes a hideous bloodbath. As a reflection of daily reality and its crass representation in the horror of one extreme crime, Michael Haneke has mounted material taken from one whole day of ORF (Austrian TV) broadcasting, using it in proportion to the time allocated to it in the programme schedule.

A married couple is terrorized by a series of videotapes planted on their front porch.