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“Code Inconnu” trades Haneke’s concerns with violence and media for an intricate study of the immigration dilemmas facing contemporary Europe.Staged almost exclusively in unbroken takes, some running as long as ten minutes, the film never quite congeals, never feels as fully in Haneke’s grasp as his earlier pictures.But Haneke's aim is to leave the audience in a perpetually unsettled state, and therefore more open to questioning accepted cinema techniques, storylines and character behaviour.French actress Isabelle Hupert is simply astonishing in the lead role.But greater recognition for Haneke may be in the wings.His two most recent films — “Code Inconnu” (which is currently playing in New York) and “The Piano Teacher” (which will be distributed next year by Kino International) — are significant departures, in that they are in French, feature marquee talent and evidence a variety of new themes.Hence one reading od the film's teacher-pupil love affair: she, the professional eye for talen, has noted his potential for violene and uses her skill to bing it to the fore in order to fulfil her masochistic desires.She plays him ike a concerto, moving from pianissimo caresses to fortissimo body blows. Huppert delivers one of the standout performances of the year, while Haneke's courage once again leaves all of his peers standing.

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And, at almost the very same moment, Haneke was in Cannes with The Piano Teacher, securing the festival Grand Prix and top acting awards for Isabelle Huppert and Benoit Magimel.

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Severely repressed, she satisfies her mas­ochistic urges only voyeuristically until she meets Walter (Benoît Magimel), a student whose desire for Erika leads to a destructive infatuation that upsets the careful equilibrium of her life.

A critical breakthrough for Haneke, The Piano Teacher—which won the Grand Prix as well as dual acting awards for its stars at Cannes—is a formalist masterwork that remains a shocking sensation.