Marta Figlerowicz, Sade’s Piano: Control and Abjection in the Films of Michael Haneke
Volume 9 – July 2020
“Haneke’s films question not only their characters’ self-knowledge, but also the insistence with which they cling to bodily and mental self-control as their main center of identity. […] By revealing the shallowness of our bodies’ aliveness, they remind us that the stillness and inert compliance of matter is not just something we desire to master, but also something that we fear and deny in ourselves […]”
A new series of nimble pataphysical pamphlets 