Michael Haneke isn’t exactly someone who tends to expose too much of himself. His austere and reserved nature is echoed in the harrowing and beautiful films he creates and with this year’s Amour, the acclaimed Austrian writer and director became more beloved than ever.
But with Yves Montmayeur’s Michael H. Profession: Director, we get a deeper insight into the multi-Palme d’Or-winning filmmaker who has given us such films at The Piano Teacher, The White Ribbon, Funny Games, Cache, and Code Unknown. Originally premiering on Austrian television, the film will be running the festival circuit in the States, first heading to the Tribeca Film Festival next month. Michael H. Profession: Director will feature interviews with Haneke himself, as well as his frequent star Isabelle Huppert alongside Juliette Binoche, Jean-Louis Trintignant, and Emmanuelle Riva.
And as one of the most important and interesting directors working today, when I spoke with Haneke back in September, a question was asked about his fearlessness in exploring poitically and socially sensitive topics, to which he said:
That can’t be the starting point for an actor or director. If you’re living today and dealing with contemporary reality then automatically you’re going to want to talk seriously about the society you’re living in and you’re automatically going to touch on raw points. You can’t be a filmmaker or an author and not touch on them. You can’t avoid that. But the point is, that you’re not seeking to exploit those, rather they follow from the issues that you’re dealing with, your vision. In many of my films I’ve talked about the role of the media in society, and not because that seems to be an important point theoretically, but more because I’m a part of that media landscape and because it touches me and it angers me. Tthat’s really why I want to deal with it, because of the emotions it creates in me. Theoretical films are terribly boring.