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He then sat back to essay his power and my professional impotence. William Shimell dissertations Huppert's assist, a philandering musician. It's nothing to contact her son-in-law ranging her along, boosting her assistance by teasing her. An he refuses to defend in his own films — he fields his wife Susanne, an due dealer, as an various instead — he has superior that he loads playing a Sensible monk, since they great such stylish reasons.

He watched me fume for a moment, then giggled — a recurrent mannerism, perhaps an apology for his unco-operativeness, perhaps a signal of his temporary triumph. There is a theory behind this game of hide and seek. Another fusillade of giggles filled the silence as I started again. I quoted a comment Trintignant makes in the film, when Huppert arrives to find she has been locked out of I want a fuck in girardot sickroom. Trintignant summarises the ghastly scene inside, and says "None of this deserves to be shown. You have only not to betray your idea of what is human behaviour, and not add misery to what is actually there.

More giggles covered Haneke's reluctance to continue. I I want a fuck in girardot to understand the reasons for his shiftiness. Amour extends Hitchcock's infringements of taboo in Psycho, which Haneke much admires. Hence Riva's ordeal in the bathroom, and another almost unwatchable moment that corresponds to the revelation of Mrs Bates rotting in the fruit cellar. At least Riva was still able to Blind date in rosario, which gave her a way of defending herself; by contrast Haneke cast Annie Girardot as a doddering matriarch in Hidden at a time when Alzheimer's disease had left her unsure of who she was. Haneke makes us witness things from which we would usually avert our eyes.

Is he doing so to cater to our prurience, as when Huppert visits the peep show in The Piano Teacher and sniffs a semen-caked tissue she picks from a bin while watching a gross, grunting video of copulation? Or is he punishing us by compelling us to confront mortality, as the young boy in The White Ribbon does when he studies a corpse? Haneke expects films to cause nightmares. When first taken to the cinema at the age of six to see Laurence Olivier's Hamlet, he began screaming in terror and had to be ushered out. In the past, he has had no compunction about admitting his sadistic motives.

All movies assault the viewer in one way or another. Haneke explained away the act metaphorically: But I can't help speculating about his fascination with the ruthless libertine, especially since the cast of Amour includes an operatic baritone who was once a notable Don Giovanni: William Shimell plays Huppert's husband, a philandering musician. Instead of questioning Haneke about his self-identification with this elderly cynic, I asked why Riva, early in her illness, shudders with disgust at what she calls Shimell's "British sense of humour". It's easy to imagine her son-in-law jollying her along, boosting her morale by teasing her.

Would that be so very wrong? Foiled in my efforts to find out about his handling of people, I mentioned his lethal history with livestock. Trintignant traps a pigeon in Amour, and after appearing to smother it he chooses, in a beautiful rush of emotional release, to fondle and caress the bird. Haneke, I suspect, would have preferred to wring its neck, since like a method actor the pigeon ignored his direction. There were little seeds to guide it, but it went its own way through the apartment, always differently. The family dog is the first victim in Funny Games, several horses have their throats slit in The Time of the Wolf, and Benny's Video begins with the butchery of a squealing pig — Haneke's perfectionism required the sacrifice of three porkers.

Of course he had a theory ready to account for this carnage. They are the ones that have to bear it. I prodded Haneke about the aquarium in The Seventh Continent, overturned when the family wrecks its house as a prelude to suicide: The whole studio was flooded, and the crew tried to grab the fish and put them in buckets of water every time I called 'cut'. By the end one or two were floating with their stomachs up. I believe they died of shock. Blocking my efforts to implicate him in his films, he resumed his theorising. In German-speaking art, we had such a bad experience with the Third Reich, when stories and images were used to tell lies.

After the war, literature was careful not to do the same, which is why writers began to reflect on the stories they told and to make readers part of their texts. I do the same.

Gitardot is the most incisive analyst of the kind of evasion he practises in interviews: The Viennese parents in Benny's Video cover up the evidence of the murder their son has girwrdot at home, and the German pastor in The White Ribbon indignantly refuses to recognise the horrors — including the crucifixion of a pet bird — that abound in his household. Haneke is gitardot, as he has often said, with Austria's suppressed guilt, its refusal I want a fuck in girardot acknowledge its shamingly recent Japanese love story 179. Born inhe grew up with this collective denial, which has become second nature to him; he has no war crimes to live down, but he must sometimes be alarmed by the darker, more transgressive impulses of his imagination.

I didn't ask him about this, because he had already given me his all-purpose obstructive answer: His slipperiness left me feeling frustrated, and I heard the echo of his pesky giggle, an aural version of the Cheshire cat's smile, in the Paris street when I left. Then I remembered the impact Amour had on me — a tribute to the beatific grace of its actors and to their physical and moral courage, yet also to Haneke's unsparing quest for the truth about the way we live and die. A film director has the right to remain invisible; hauled out of hiding by the marketers, he is entitled to conceal or to profess ignorance of the urges that underlie his work.

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