This is one of the rare occasions where the special features illuminated the film to the point of making me regard the film higher than upon first watching it. Watching the film fifteen years after it was released, it felt like it could have been released last week. That said, the film itself uses very little color. Code Unknown is a well made film, but like Haneke’s other film, it can feel a bit cold. The phenomena Audrey experiences extend beyond her losses to a network of seemingly coincidental connections between the lives of her friends and the art they made and loved—including Kandinsky’s, of course, but also the paintings of his contemporary, Hilma af Klint, whose abstract designs predated Kandinsky’s compositions. One of the shorts programs, Code Unknown, is streaming right now through Saturday. I personally am glad to own it and look forward to giving it another shot soon. It opens with Humongous!, originally slated to premiere in May as part of the Critics’ Week program in Cannes. The principal idea of the film was to explore gaps in class, generation, and nationality with a focus on immigration in Europe. As this is a dialogue driven film, there is not much to blow away people in terms of spectacle. The new production circumstances of Code Unknown gave him the space and budget to retry and perfect some of the thematic strategies risked in the glaciation trilogy, but it is the ­combination of the fates of semi-established African residents in Paris with those of Romanians in the country illegally and begging in the streets that makes the film feel more global in scope than his earlier work. The irrepressible spirit of Pasolini wafts in and out of this month’s round. Composed almost entirely of brilliantly shot, single-take vignettes focusing on characters connected to one seemingly minor incident on a Paris street, Haneke’s film—with an outstanding international cast headlined by Juliette Binoche—is a revelatory examination of racial inequality and the failure of communication in an increasingly diverse modern landscape. On top of that, Juliette Binoche is determined to not age, so she looks the exact same now as she did then. This is a well done, albeit not very intense, 5.1 DTS-HD Master Audio track. Since the film this immigration has only intensified as terrorists and governments have collided. “Currents offers more than a dozen feature-length movies and forty-six shorter works in what may be the strongest blend in years,” wrote Pipolo. Remy eats the sandwich and angrily throws the sandwich wrapper into a beggar’s lap. Audrey’s voice-over narration, a near-constant throughout the film’s eighteen minutes, is ostensibly addressed to the viewer but with an intimacy that suggests an ongoing internal monologue, a deeply personal coming to terms with the recent loss of two close friends rendered as a sequence of objective observations of the external world Audrey moves through. I think the average viewer will share my experience. I would also highly recommend renting first, as the audience is probably fairly limited for this type of a film. Haneke explains his intent, and the hazy image became clearer to me. Since the film this immigration has only intensified as terrorists and governments have collided. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. It opens with, Another Critics’ Week 2020 selection is Graham Foy’s. Criterion have done an excellent job of cleaning up dirt and scratches with a very pleasing final product. Luckily, the supplements explained more in depth some of the themes of the film, and made it a much richer experience. Jean, who helps tend to his father’s farm, runs away to Paris to try to stay with his older brother, Georges, who is in Kosovo taking photographs of the war there. The title of the new film is taken from the 1926 book by artist and theorist Wassily Kandinsky, and early on, there is a closeup of a brief passage Audrey is reading that sets the agenda: “Every phenomenon can be experienced in two ways. `Code Unknown' plays out much like a film by Alejandro González Iñárritu in that it interweaves various characters and plots in order to find a common denominator, a linking factor or connective tissue between humans in general. Every now and again, I come across a film that I enjoy, but have trouble explaining what it was that made the film special to me. Code Unknown is one of the few films I have seen recently where I could not seem to immediately form an opinion. His drama Code Unknown, the first of his many films made in France, may be his most inspired work. This leads to a confrontation with Amadou, a French-African, who tries to get him to apologize. “As its title promises, a fair number of the entries are of up-to-the-minute societal relevance.” A few of those features and a good handful of the shorts will screen before this year’s NYFF wraps on Sunday. One of the world’s most influential and provocative filmmakers, the Oscar–winning Austrian director Michael Haneke diagnoses the social maladies of contemporary Europe with devastating precision and artistry. Michael Haneke marks his debut in The Criterion Collection with his 2000 film Code Unknown. Code Unknown. This interview with director Michael Haneke was conducted in Windigsteig, Austria, in August 2015. She buys him a sandwich, and sends him on, because she is an actress and is late for work. “At this point, Bohdanowicz has a recognizable style and sensibility, and as ever with this filmmaker, Hilma af Klint’s work speaks to Kristen Stewart’s character in Olivier Assayas’s. The beggar is deported. Georges’ girlfriend, Anne (Juliette Binoche) walks with Remy from their apartment and explains that Georges is out of town. This week we’re reading Jacques Rancière on Pedro Costa, J. Hoberman on Pietro Marcello and Jack London, and Sasha Frere-Jones on Jóhann Jóhannsson. Code Unknown deals with material that is very relevant today just as it was in 2000. Haneke is an interesting director, and he does not pull any punches. Haneke likes to paint in grays and concrete slabs. The film is presented in its original aspect ratio of 1.85:1 on this dual-layer disc.

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