The long take is a favorite tool of many great contemporary filmmakers, but few have wielded it with such unnervingly provocative results as Michael Haneke. In his 2001 adaptation of Elfriede Jelinek’s controversial novel The Piano Teacher, the Austrian director brought his masterful use of cinematic duration to the story of a deeply repressed piano professor named Erika (Isabelle Huppert), who lives with her emotionally dependent mother and forms a sadomasochistic relationship with her talented young student Walter. Working with cinematographer Christian Berger, Haneke created long passages in which the merciless, unflinching gaze of the camera heightens the intense abjection and alienation on-screen. For our recently released edition of the film, Haneke talked with us about his methods of storytelling, touching on the ways in which long takes foster narrative suspense and make it easier for actors to develop the emotional arc of a scene. In the below clip, he examines the beginning of a seven-minute confrontation between Erika and Walter, and explains how he strived to capture this sexually charged moment with the boldness of such transgressively erotic masterpieces as Salò and In the Realm of the Senses.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.