 A film in three minutes, Cache. Michael Haneke is a filmmaker whose work is no stranger to the darker side of human nature. From sadistic teenage torture to the unnerving roots of Nazism, Haneke's career has solidified his reputation as one of Europe's greatest living film directors, with his 2005 thriller Cache, or Hidden in English, acting as one of the best examples of his craft. The story follows George, played by Daniel Ottoya, a successful middle-class television presenter whose cosy cosmopolitan life is interrupted by the arrival of several mysterious videotapes, tapes that show his Parisian home being filmed at different times of the day. As more tapes show up, they arrive with disturbing childlike drawings, drawings which force George to look back into his past and face a harrowing guilt from his childhood. Cache as a film works on two levels. The first is a taught psychological thriller where the realities of how a family would react to receiving such tapes on a daily basis steadily begin to cause conflict between George and his wife and son. The second level, and the one which director Haneke focuses on the most, is how George's guilt is a metaphor for France's recent colonial past, most directly referencing the 1961 Seine River massacre where dozens if not hundreds of French Algerians were beaten and drowned during the Franco-Algerian War. In Cache, George as a character represents the tensions that affluent white suburban France have to this day with the country's large North African population, as well as symbolising the collective amnesia that France as a nation has had over its colonial guilt. The relationship between George and a person he suspects is responsible for sending the tapes symbolises the stark divide both French populations have, a divide revealed slowly to us thanks to the magnificent performance from Autoyer who perfectly encapsulates a man having to confront a buried secret from his past. On what fascinates Haneke as a filmmaker, the director has said, I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance, those are the kind of films that interest me. For me, personally, I think watching a movie that simply confirms my feelings is a waste of time. The film's ending is one that has stuck with me for many years after first viewing, providing us with no direct clarity on who may be responsible for sending the tapes to George, but it's in that same lack of clarity where Cache works best, leaving us as the viewer to ponder and develop our own ideas on who is responsible and why, forcing us to think instead of just spectate, not just on the mystery itself, but how, like George, we as citizens have to choose whether to face our country's violent past or pretend it can be hidden away, not for the victim's sake, but for the descendants of those responsible.