![]() ![]() Both of these appalling situations are akin to the central concerns of Code Unknown, and might even have supplied material for it. Regularly featured on the TV news at the time of this writing were these two “stories”: Africans desperate to get to Europe were either drowning in or being rescued from flimsy, overcrowded boats launched into the Mediterranean by traffickers and Greek EU citizens were being made destitute by the very European leaders they’d thought were there to protect their interests. But watching the film now also offers a reverse effect: events current in today’s news broadcasts seem to amplify and confirm what Haneke was describing in 2000. In the case of the Paris-set Code Unknown, it was when atrocities committed during the vicious ethnic conflicts in what was then Yugoslavia were being exposed. When we watch his films in later years, these broadcasts remind us, in their sensationalized manner, of the moment in history when each film was made. ![]() ![]() Since as far back as his TV movie Fraulein (1986), Michael Haneke has used contemporaneous television news broadcasts as a form of punctuation in his narratives. To watch Code Unknown today is to experience the shock of its political prescience. ![]()
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