CAT: Textual Analysis of Caché

Caché is a french movie, one of Michael Haneke’s most famous works. He was both writer and director of this film. It is considered a critical success, receiving mainly positive reviews form the most important critiques.  The open ending of the film is typical of a Haneke film, creating intrigue in the audience.

This sequence is taken from Caché, starting from the opening scene where Georges is entering the building where his office is. My analysis will start form this point up to the moment in which Georges (Daniel Auteuil) and Majid’s son (Walid Afkir) finish their conversation in the library. This is a critical scene of the movie because it shows a turn in the narrative and in the perspective the audience has of the character of Georges.

The camera is used beautifully throughout the film, and particularly in this scene. The angle is mostly on eye-level, and there is a variety of shots, but there is never an establishing shot, another feature of Haneke.

The dynamics of the camera and the actors are just right. As the sequence begins, Georges enters the building while the camera takes him with a low angle, to portray him as a vulnerable character, the victim of the situation. The public in the building make the audience remember that he is a successful person, as well as a public figure, an expert of what he does.

As Majid’s son appears, he is a big, imposing figure, revealing only his back, without showing his hidden side, his unknown identity. When he appears, Georges is giving him his back, showing that Georges’ past returns to haunt him. There is also a physical difference, creating a contrast between the past and the present in Georges’ life. However, as he turns, hi is confronting his past, to end the situation.

The elevator scene is one of the best takes in a movie, the creation of tension through the complete silence, and the refection of Georges in the mirror, while the camera frames Majid’s son. While this is taking place the audience can see how the past in Georges’ has a huge weight in his life, this is shown by the size of each character in the picture. The reflections of both characters provides details of the situation, Georges is looking at his own reflection, recapasitating about the past; Majid’s son shown both his sides, without having anything hidden.

When they leave the elevator, they have a conversation in the entrance of the office, where they seem to be alone, but there is occasional people walking through the place. In this scene, the camera is focused on Georges’ reaction. This, together with the size of the characters, he is portrayed as the victim of the situation. Once again, Majid’s son reveals a hidden side, which creates intrigue in the audience.

As they continue their conversation in the bathroom, they change the dynamics of the scene, the sizes of the characters are reversed, Georges now assumes the power of the situation, demonstrating that his past is not so important again, As Majid’s son has a smaller size, and by focusing on his reactions, he is portrayed as the victim of this situation. 

When Majid’s son is shot alone, it is possible to say that Georges is confronting his past, and finally defeating it, showing that his past is now more vulnerable.