"An absolute ideal becomes regarded as inhuman"
Widely applauded his arrival at the conference press after presenting his splendid film Le ruban blanc as part of the Official Selection at Cannes, the Austrian filmmaker Michael Haneke reporters revealed some elements of its methodology, maintaining, as his movie, part mystery about possible interpretations of his work.
What are the reasons for the film in a German village on the eve of World War I?
is a project on which I have been working for over ten years. My main goal was to present a group of children who are inculcated considered as absolute values \u200b\u200band the way in which internalized these ideas. If considered as absolute a principle or ideal, whether political or religious, it becomes inhuman and leads to terrorism. Was planned as another title, "The right hand of God," as children of the film apply exactly these ideals and punishing those who do not share completely. Moreover, the film is not just about fascism, which would be an overly easy since the story is set in Germany, but on a model and the universal problem of perverted ideal
Why Why shoot in black and white?
All images we know from the late nineteenth and early twentieth century are in black and white, because the existing media (photographs, newspapers). However, for the eighteenth century we have a perception of colors, pictures and movies. I love black and white and took the opportunity. It allowed me also use a narrator to a distancing effect. What counts is to find adequate representation of the subject.
violence and guilt are back in the center of this películaTrato these issues in all my films.
In our society, the issue of violence is inevitable. As for guilt, grew up in a Judeo-Christian world where this issue is present permanently. One need not be bad to become guilty. This is part of our daily lives.
Le ruban blanc has many characters. How elected and went to all these actors?
For the cast, looking for faces that look like the photographs of the era. In six months, we saw more than 7,000 children. And the task was made more difficult because it is not primarily physical, but the talent. For adults, I chose actors who had worked with me and others whose work I knew. As for directing actors, I just tell them if something does not seem accurate. If you have chosen well for the actor, the character works in the situation.
The plot raises more questions than answers.
Nothing explain. My principle has always been to question, present very specific situations and tell a story so that viewers can find their own answers. For me, the opposite is counterproductive and spectators are not friends of the filmmaker. I work hard to achieve this result. I think that art should challenge and not give answers, I always look suspicious, or even dangerous.
Fabien Lemercier (cineuropa.org)
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