The first image in Austrian director Michael Haneke’s latest masterpiece, Caché (Hidden), is a long shot of a narrow urban street, leading to a fairly nondescript house. Filmed with a static camera, uninterrupted by editing, and lingering longer than most viewers are accustomed to, this mysteriously ominous glimpse of French street life immediately sets the mood that is the hallmark of Haneke’s work.

Movie Violence in The Passion of the Christ, an interview with Aki Kaurismaki, and the New Verticality of Special Effects. Plus reviews of Cache, Wedding in Galilee, and The Cyclist

READ: a review of Cache