Juliette Binoche, Thierry Neuvic, Josef Bierbichler

Jean, a farm lad, wants to escape his silent father; he runs to Paris to his older brother, Georges, who's away covering the war in Kosovo. Angry, he throws a bag of half-eaten pastry into a beggar's ...( read more  read more... )lap. Amadou, a young Franco-African, berates him. The police arrive, arrest Amadou and deport the beggar. Georges's girlfriend Anne is upset; it colors her relationship with Georges when he returns from the war. Separate lives intersect for the one moment, around the pastry bag, and all are altered. We follow each as repercussions of the incident play out. Deaf children bookend the film pantomiming words, feelings, and situations: what they are expressing?

Flixster Users

79% liked it

3,865 ratings

Critics

70% liked it

37 critics

Unrated, 1 hr. 57 min.

Directed by: Michael Haneke

Release Date: January 1, 2000

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DVD Release Date: August 6, 2002

Stats: 214 reviews

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Flixster Reviews (214)


  • June 23, 2008
    Very complex intertwining stories about life in modern society. Sort of like Crash, only for Adults.
  • January 5, 2007
    Well-acted, feels plenty real, but is emotionally inert.
  • October 5, 2007
    My least favourite Haneke film, but still very good. A great description I've heard is "Crash for adults".
  • March 7, 2009
    A modern masterpiece, though decidedly slow and alienating. Tough, but interesting. I love Juliette Binoche.
  • January 10, 2009
    No thankyou - Not interested
  • December 20, 2008
    In an age of a borderless, new European economy, the volatile encounter of four people on an anonymous Parisian street underscores the underlying social disparity inherent in any increasingly multicultural, contemporary urban society. A brash, impatient young man named Jean (Alex...( read more)andre Hamidi) accosts his older brother's girlfriend, an actress named Anne (Juliette Binoche), on the street after being unable to reach her on the telephone. Attempting to gain alliance against their father (Josef Bierbichler) from his brother Georges (Thierry Neuvic), a photojournalist on assignment in the Balkans, Jean, without solicitation, begins to complain to the polite, but hurried and preoccupied Anne, of his objection to his father's unconsented plans to renovate the family's farmhouse with the expectation of apprenticing him to assume eventual responsibility for the farm. Pressed for time and unprepared to appropriately address Jean's personal issues, Anne attempts to placate him with a snack purchased from a nearby vendor and gives him the keys to the apartment, providing a terse reminder that he cannot stay indefinitely. Jean's frustrated attempts to voice his grievance leads to a thoughtless act: discarding his crumpled paper bag into the lap of an undocumented immigrant from Romania named Maria (Luminita Gheorghiu) who is panhandling near the entrance of a cornershop. A principled and tenacious music teacher of African descent, Amadou (Ona Lu Yenke), witnesses the humiliating episode, and confronts Jean to demand an apology. The altercation soon draws the attention of the police who seem to quickly side with the young transgressor, duly noting Jean and an interfering, tangentially aggrieved shop owner's complaints. Eventually, the well-intentioned Amadou and inculpable Maria are officially detained.

    Michael Haneke creates an intelligently constructed, compelling, provocative, and relevant observation on social inequity, the untenability of cultural assimilation, and the failure of communication in Code Inconnu. Presented as a series of dissociated (and intrinsically ethnographic) episodes on the lives of the principal characters following the fateful (though seemingly trivial) transection, Haneke examines the ingrained social divisiveness, moral complacency, and created bounds of human interaction. Chronologically indeterminate events, interrupted dialogues (often truncated in mid sentence), prolonged transitional fadeouts, and recurrent episodes of missed (and mis) communication (Jean's unsuccessful attempts to reach Georges and Anne; the mysterious letter left on Anne's door seeking help, perhaps written by an abused child living in a neighboring apartment; Georges' inability to unlock the front door of the apartment building after the access code is changed) pervade the film's fragmented narrative structure, exposing the flawed perception of cultural integration and social equality in the constantly evolving racial and socio-economic demography of a traditionally monoethnic society. The exquisitely wordless, extended final sequence, articulated solely through the consonant rhythm of an outdoor performance by Amadou's deaf music students, illustrates the innately human capacity to transcend the artificially imposed barriers of cultural perception and bias to communicate through the universal language of community and compassion. However, in the frenetic pace and ambient cacophony of a claustrophobic, modern existence, human expression is often only valued for its measured distance and tolerated silence.
  • July 18, 2008
    Story fragments cleverly and skillfully unified with the theme of responsibility and alienation. A movie that requires you to think... I guess I would have enjoyed it more had I not been so tired while watching it!
  • June 26, 2008
    Some really interesting, great shots. I love the tracking shots.
  • January 13, 2008
    Another thought provoking piece of cinema from one of my favorite director's.
  • December 23, 2007
    i'm beginning to like Haneke..

Critic Reviews


September 7, 2006
Nick Schager, Lessons of Darkness

[Haneke's] socio-political condemnations assume an aggressively hectoring tone. full review

May 24, 2002
Steven Rea, Philadelphia Inquirer

Code Unknown gets at the ache and angst of the human condition in ways that shiver with telling detail and the machinations of real life. It's powerful. full review

View more Code Unknown (Code inconnu: Récit incomplet de divers voyages) reviews at RottenTomatoes.com

Comments


  • beautifultiger
    October 31, 2007
    Jean, a farm lad, wants to escape his silent father; he runs to Paris to his older brother, Georges, who's away covering the war in Kosovo. Angry, he throws a bag of half-eaten pastry into a beggar's lap. Amadou, a young Franco-African, berates him. The police arrive, arrest Amadou and deport the beggar. Georges's girlfriend Anne is upset; it colors her relationship with Georges when he returns from the war. Separate lives intersect for the one moment, around the pastry bag, and all are altered. We follow each as repercussions of the incident play out. Deaf children bookend the film pantomiming words, feelings, and situations: what they are expressing?

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