Rejtély

Kubrick-szerű tiszta filmes munka, a színházi és filmes kifejezési eszközök egyedülálló kombinációja. Haneke hűvös (lassú és csendes) komponálása a (szinte kizárólag belső) jelenetekben nem áll nagyon közel hozzám, de a rendező perfekcionizmusa a film minden percéből sugárzik, és gyakran elállítja a lélegzetet. És egyszer brutálisan megállítja néhány másodpercre (bár ezt a sokkot kikacsintva előre jelzi egy jelenetben, amikor asztal mellett "viccet" mesélnek). Más film, amely - bármennyire is tetszik - nem fog hamar elillanni. Eddig Daniel Auteuil legtartalmasabb és legjobban kezelt szerepe azok közül, amelyekben eddig láttam. (2006.10.17)

Excellent psychological drama, well acted and suspenseful, I hope not only for those who don't need to have everything presented in a semi-pathological way. I wouldn't say it's a challenging film, the plot is told in a clear way, without any confusing moments or dead spots, with one brutally surprising scene that makes your jaw drop. Even the author's comments on the complex racial issues of today's France can be felt in the film (the scene with the black man on his bicycle, the problem of Algerian immigrants). And the surprisingly open ending, with a long take on Majid's son's discussion with Pierrot, invites several interpretations, and while some may feel they have been deprived of something, I can’t complain. That understatement can so sexy sometimes. PS: I shed a nostalgic tear at the several-minute appearance of French film legend Annie Girardot. (2006.06.29)

Not for me. I don't think Michael Haneke is my thing. It's all too grounded and mundane for my taste, filmed entirely in an apartment, and the long static shots really pissed me off because I was always afraid that I had paused the film or someone cut it by mistake. It's very slow paced, unfortunately nothing really interesting happens for the whole two hours, no suspense at all, the twist is ambiguous and the vaunted "shocking" scene seemed rather comical to me. Lots of light psychological terror where I struggled not to fall asleep. It even made remember the horror of Anatomy of a Fall, which is similarly grounded and won the same European awards, so let the nerds enjoy it. 4/10. (2024.03.12)

I would divide the film's rating exactly in half. The form is traditionally refined by Haneke, and he managed to cast top-notch character actors who give their all. However, the content lags behind because Haneke's traditional style of leaving many things up to the viewer and ending as open-ended as possible turned into complete helplessness, and I wouldn't hesitate to use the word "awkward." The characters' motivations are unsatisfactory and the whole thing leaves me with the impression of "What did the poet actually want to say with this?" Overall impression: 50%. (2012.03.25)

I respect Haneke's distinctive vision as a filmmaker and admire his ability to put a bullet in a perceptive viewer's head with slow psychological pressure or, on the contrary, with a single suggestive moment (here I took two, maybe even three, thanks to one scene), but emotionally the director is unfortunately deaf... The minimalist camera work and sets and the actors themselves are traditionally flawless, and the visual clarity perfectly evokes a sense of psychological authenticity, allowing Haneke to skilfully mask the lacklustre story and leave it up to the viewer to wade through the deliberate understatement to their own mental interpretation. For me, however, Hidden didn't say much more than that its creator is a true master of intimate cinematic design and unique image-emotion harmony, but I’d known that for a long time. 70% (2015.09.14)

Interesting, academic?!, distinctive, and "cleanly" shot. Even if I wasn't left with the "right" unsettling feeling after watching it, as with other Haneke films, it's still a rather above-average work compared to the vast majority of other productions, and definitely won't leave you unmoved. (2010.06.14)