Regie:
Michael HanekeDrehbuch:
Michael HanekeKamera:
Christian BergerBesetzung:
Ulrich Tukur, Susanne Lothar, Rainer Bock, Christian Friedel, Leonard Proxauf, Leonie Benesch, Burghart Klaußner, Steffi Kühnert, Michael Schenk (mehr)Streaming (4)
Inhalte(1)
Ein Dorf im protestantischen Norden Deutschlands. 1913/14. Vorabend des ersten Weltkriegs. Die Geschichte des vom Dorflehrer geleiteten Schul- und Kirchenchors. Seine kindlichen und jugendlichen Sänger und deren Familien: Gutsherr, Pfarrer, Gutsverwalter, Hebamme, Arzt, Bauern - ein Querschnitt eben. Seltsame Unfälle passieren und nehmen nach und nach den Charakter ritueller Bestrafungen an. Wer steckt dahinter? (X-Verleih)
(mehr)Kritiken (8)
Michael Haneke is an excellent author who can surprise you with each of his films because each one is different. It's a different genre, and often a different style as well, although it's true that his films usually share a slower pace. Here, you'll be completely captivated by the black-and-white execution, even though the film wasn't originally shot in black and white but later adapted to it.
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Die bestmögliche Diplomarbeit eines Studenten von allen Autorenfächern an einer Filmschule. Ich bin ein Zuschauer, der das schätzen kann (und der auf Hanekes Kunst nichts kommen lässt), der sich aber auch vor langer Zeit in Filme vor allem wegen den Emotionen verliebt hat.
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Personalisierte und chirurgisch exakte Analyse des Bösen in der deutschen Gesellschaft vor dem Ersten Weltkrieg. Hanekes analytischer Sadismus, welcher dem Betrachter einen direkten Blick auf das Leiden abstreitet, kreiert sowohl physisch als auch psychisch sehr unangenehme Gefühl. Der bewusst schwerfällig und statisch konzipierte Film erinnert mit seiner Stilisierung an verblasste Schwarzweißfotografien, zeigt jedoch unter ihrer kühlen Oberfläche eine abstoßende Maschinerie aus Demütigung, Klasseneifersucht, Perversionen und Intrigen auf. Leider hat mich das Das Weiße Band - Eine deutsche Kindergeschichte zwar intellektuell angesprochen (der Film ist brillant konzipiert und vollständig rational derart komponiert, so dass er eine Aussagekraft auch als Ganzes hat), aber emotional ist er recht stark daneben (trotz der Freude an der brillanten regietchnischen Herangehensweise bin ich die ganze Zeit über nur ein kühler Beobachter geblieben). Wir können davon ausgehen, dass der Film insbesondere Fans von Hanekes entpersönlichtem und explorativem Blick auf die dunklen Seiten der menschlichen Seele interessieren wird. Für die anderen kann es sich entweder um ein verlockendes intellektuelles Spielzeug, oder eine tödliche Langeweile handeln.
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That was awesome! A hard, unpleasant and very intense psychological drama. I’ve just watched it and I feel as if Haneke had ran me over with a steamroller. The White Ribbon is a truly impressive mosaic of relationships in an Austrian village before WWI that reveals the origins of human hatred and corruption. It’s almost like a realistic Twin Peaks.
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The White Ribbon is not so much a dark thriller or even a crime drama as it is a journey into the early 20th century and a precisely executed depiction of the societal thinking and hierarchy of that time. It is a late patriarchal system where the word of the family breadwinner was law and upbringing took place not only in a strict religious but primarily authoritarian conservative spirit. Order, discipline, and authority, where many dark stories took place under the guise of orderliness, and many things were successfully swept under the rug. Masturbation was a crime, but sexual abuse was not addressed. Haneke is an excellent director and it shows in this film. The unsettling atmosphere of the village, far from civilization centers, where the advances of modern technology and modern liberal philosophical movements have not yet reached. I have a problem with some of Haneke's films, with his manipulation of the audience's emotions and unresolved endings, but he succeeded here. The unsettling ending with lots of dark suspicions, hints, and terrifying visions somehow fits into the period of the beginning of World War I and the end of that old quiet patriarchal society. Overall impression: 90%.
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A humanistic probe into the midst of a group of black-and-white human souls, almost without emotion and without the twist that we would automatically and adamantly demand in the case of conventional narrative scales, but with the most breathtaking and purest visual and acting representation of a filmmaker's vision in many years. A breathtaking clash of angelic innocence and harsh discipline with violent human depravity, where what matters is not the who or the why but the HOW - perhaps the only Haneke film where, if we accept the master's exacting psychological game, we will leave with a warm feeling not only as spectators but above all of pure moral awareness.
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In a respectable one hundred and forty minutes, Haneke uncovers a truly incredible cabaret of the demeaning, hypocritical, vengeful, and cruel. The most depressing analysis of a closed society you're likely to come across. And the film pulls this off on its own without any judgement. In this work, the door plays a major role.
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Set against the backdrop of those horrific events, The White Ribbon reveals the warped morals and stifling atmosphere of a German village, which escalates as the number of atrocities escalates. The spasmodically punctilious and often unnecessarily cruel upbringing of the children blinds the minds of the villagers in their search for the real culprits – unable to even admit or consider that their offspring might have had something to do with it... A very impressive drama indeed, with excellent child actors, in which interpersonal relationships and concealed loathing are excellently portrayed alongside unidentifiable evil (Haneke really takes the gloves off for this one). P.S.: I was pleasantly surprised by the almost full capacity of the multiplex. :) 90%
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