nathansnook

71 Fragments of a Chronology of Chance

Akin to Code Unknown (https://letterboxd.com/film/code-unknown/), Haneke blue balls us into petite climaxes into actions that don’t resolve on screen, but are left to the very short imagination of the jump cut that follows suit into the scene, the next fragment, and this fragmentation works, and works well especially now, in the media-obsessed 24/7 news-cycle we live in now. How does the individual exist in the refrain of current events that sway between the brutal and the optimistic? How do we go on living when violence is all around us? Violence and why it happens is always explored in Haneke’s work, and this is no exception to the addition. Perhaps 2-3 fragments could’ve been cut out, but tightly done, and I think where in 𝘜𝘯𝘬𝘯𝘰𝘸𝘯 (if I remember correctly from the first time I saw it a decade ago), 6 years after, the individual vs general public comes more into conflict in the conflation of current events, demanding answers from our existential questions of basic conduct and existence. This exists as a strong stepping stone into the rest of Haneke’s work that follows after. *Now, I like to tell people that Michael Jackson appears in a Haneke film, which leaves me to wonder: what MJ song does Haneke like the best?

ImAChillGuy

71 Fragments of a Chronology of Chance

Very well shot. Not a surprise, Haneke never disappoint. This feels like daily video and a horrific action take place somewhere. It really reminds me of Elephant 2003 but well shot (hehe) but not in school.   Both movies follow people day to day and what they.  They kind of connect at the end if you stay with it. The Michael Jackson scenes just throw me off so bad😭😭