The Rebellion

Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.

An aged tailor recalls his life as the schoolteacher of a small village in Northern Germany that was struck by a series of strange events in the year leading up to WWI.

Chronicles three years of a middle-class family seemingly caught up in their daily routines, troubled only by minor incidents. Behind their apparent calm and repetitive existence, however, they're planning something much more sinister.

Two psychotic young men take a mother, father, and son hostage in their vacation cabin and force them to play sadistic "games" with one another for their own amusement.

Erika Kohut, a sexually repressed piano teacher living with her domineering mother, meets a young man who starts romantically pursuing her.

As the host of a literary TV show, Georges begins receiving anonymously filmed videos of his family alongside cryptic, disturbing drawings, but as the tapes become increasingly intimate, they reveal a stalker who has known him for a very long time.

71 scenes revolving around multiple Viennese residents who are by chance involved with a senseless gun slaughter on Christmas Eve.

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 of the horror of this extreme crime, Michael Haneke has composed an experimental collage of material gathered from one day of ORF (Austrian TV) broadcasting, using each part in proportion to the time allocated to it in the programme schedule.

Humourous interpretation of the poems and writings of Soviet dadaist Daniil Charms. These are organized into a sequence, suggesting a storyline, about a poor Russian poet who lives in Vienna, falls in love and has several bizarre adventures.

A 14-year-old video enthusiast obsessed with violent films decides to make one of his own and show it to his parents, with tragic results.

Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.

A series of events unfold like a chain reaction, all stemming from a minor event that brings the film's five characters together. Set in Paris, France, Anne is an actress whose boyfriend Georges photographs the war in Kosovo. Georges' brother, Jean, is looking for the entry code to Georges' apartment. These characters' lives interconnect with a Romanian immigrant and a deaf teacher.

In the heat of the summer lays a lonesome house in the countryside where nine year old twin brothers await their mother’s return. When she comes home, bandaged after cosmetic surgery, nothing is like before and the children start to doubt whether this woman is actually who she says she is.

When Ann, husband George, and son Georgie arrive at their holiday home they are visited by a pair of polite and seemingly pleasant young men. Armed with deceptively sweet smiles and some golf clubs, they proceed to terrorize and torture the tight-knit clan, giving them until the next day to survive.

40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.