A multi-layered parable dressed as a thriller, Michael Haneke’s 2005 Hidden, delves into the historical subconscious of the European colonizer, swims at the bottom of media manipulation, and when it comes up for air, with blood in its teeth, it does not offer any answers.
By the end of Hidden [Caché], after Georges has been terrorized by events which climax with the suicide of an old acquaintance, he lies in his bed and envelopes himself in a blanket, almost as if trying to recapture some womb-like comfort. He lies in there but probably does not have a clue who’s made that bed. We, instead, can fathom that this feeling of angst and dread haunting him is, in fact, self-inflicted. Continue reading