Understanding Michael Haneke: 71 Fragments of a Chronology of Chance (1994)

Released in 1994, 71 Fragments Of A Chronology Of Chance was meant to cap the so-called Glaciation Trilogy, which also includes Haneke’s two preceding efforts, The Seventh Continent and Benny’s Video. In some ways, this film seems symmetrical to both of them. It is inspired by a true story of a student who – out of nowhere – walked into a Viennese bank and opened fire killing a bunch of by-standers before blowing his own brains out, which tethers the film thematically to The Seventh Continent in particular. In addition, the entirety of its fragmented narrative is also interspersed with various bits of archival news footage mostly covering the Balkan War in graphic detail, which is consistent with the crucial role TV screens played in his other movies. However, this film did not resonate with me the way these other films did. 

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The Wes Craven Retrospective: The Last House On The Left (1972)

It is commonly understood that when Wes Craven embarked on a mission to write and direct his debut feature, he was inspired by Ingmar Bergman’s The Virgin Spring. Some attach a caveat that he was merely adapting the same Swedish ballad, but it is abundantly clear he was intentionally hitting the same dramatic beats as Bergman. But more often than not – apart from remarking upon the film’s exploitation aesthetic, cultural notoriety and the fact some parts of it have been lost forever owing to widespread censorship – this is where the discourse surrounding The Last House On The Left ends. But there’s much more to be mined in there.  

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Understanding Michael Haneke: The Seventh Continent (1989)

This article is a part of a comprehensive journey through the cinema of Michael Haneke, an often-overlooked auteur whose cutting critical analysis continues to be relevant to this day.

Michael Haneke’s transition from the highly regimented and thematically constrained universe of television was allegedly catalyzed by a short news article about a regular Austrian family whose members decided to end their lives, seemingly without any valid reason. The Seventh Continent is Haneke’s attempt to wrestle with this moral puzzle.  

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