Review of Code Unknown (2000) by Scott B — 19 Aug 2011

Without a doubt, Code Unknown remains my least favorite Michael Haneke film. Featuring his trademark clinical aesthetic that seems detached from the characters, Code Unknown unfolds a series of long takes that focus on even the most mundane of actions by the characters.

These series of long-take tableaux create a collage-like film similar to Altman's great ensemble films or their imitators: Grand Canyon, Magnolia, 21 Grams, Crash, etc. Haneke's film dabbles in provocative issues like war, terrorism, racism/class-hatred, etc.

It features some absolutely brilliant moments on a technically level, particularly the final series of shots that draws the characters together with the same diegetic, real-time music. But ultimately the film fails to culminate for me.

I realize that its ambiguity is no doubt purposeful as is the case with many postmodern works that I adore, but I found this particular film to just peter out instead of offering any kind of satisfying conclusion.