Michael Haneke's 1989 directorial debut film The Seventh Continent features a record collection being destroyed; we see the person bending the jacket in half with the record inside over their knee so that it breaks.

The Seventh Continent (German: Der siebente Kontinent) is a 1989 Austrian drama film directed by Michael Haneke.It is Haneke's debut feature film.

Michael Haneke's The Seventh Continent I read the news today... oh boy.

Michael Haneke's film, The Seventh Continent (1989) is a clear case of a meta-film that contains a bididrectional metaphoric construal. The Seventh Continent is Haneke's debut and it is as bleak and depressing as the rest of his films. These are the records which are visibly destroyed in the shot, in order of appearance. Like much of Haneke's work it requires an enormous amount of thought and effort on the part of the audience to really think about and deconstruct what it is that he is attempting to convey, and only then are we able to truly understand and appreciate what the film is really about. His best-known films, Funny Games (1997 and a searing American remake in 2008), Cache (2005), and White Ribbon (2009), force viewers to squirm for two hours while the perversities of humanity take revenge on our liberal sensibilities. It's about a family systematically choosing to remove themselves from the world, and it documents their actions in excruciatingly vague detail.

To end their own lives.

With a cold, static, and judgmental frame, Haneke dares to be boring, employing long takes detailing the monotonous protocol of bourgeois daily existence.

The Seventh Continent. Michael Haneke's debut feature film chronicles three years in the life of a middle class family who have sinister plans.

Like many of his films, it’s a work open to interpretation. My duty as a writer is reporting my experience objectively and honestly.

Subscribe Share Share with your friends 1:48:31. Like many of his films, it’s a work open to interpretation. Haneke's feature film debut was 1989's The Seventh Continent, which served to trace out the violent and bold style that would bloom in later years. Directed by Michael Haneke • 1989 • Austria. In dealing with anything remotely …

He achieved interesting results also with feature films ranging from metaphoric fairy tale ( The Seventh Continent, 1966 ) … Here he presents an observational study, a momentary glimpse into monotonous, almost broken lives of a modernized middle-class family and builds up dread by a steady, deliberate rhythm and dull atmosphere towards a shocking final act. Michael Haneke debuted with 1989’s The Seventh Continent, and he came out swinging.

The Death of a Family: Michael Haneke’s Seventh Continent Austrian filmmaker Michael Haneke makes me sick–and that is not necessarily a criticism.

Haneke’s debut feature, Der Siebente Kontinent (The Seventh Continent,1989), is no less provocative. The beginning of a trilogy once described by the director as a reflection on “the progressive emotional glaciation of Austria,” Continent features a style fully formed. hrenWaC. And that choice isn't presented as an easy one, either.

The family at the center of Michael Haneke’s debut feature film, Der Siebente Kontinent (The Seventh Continent), decides to do what they see as the only logical step. Seventh Continent leaves us with no survivors, because the film isn't about loss at all.

Haneke's feature film debut, The Seventh Continent takes an in-depth look at the lives of a family chained by the shackles of their expected existence willing to go to extreme measures to escape the monotonous confines of their daily existence. The Seventh Continent.

Seventh Continent leaves us with no survivors, because the film isn't about loss at all. It's about a family systematically choosing to remove themselves from the world, and it documents their actions in excruciatingly vague detail.

The Seventh Continent is not as easy film to watch; nor to appreciate on any immediate, emotional level. My duty as a writer is reporting my experience objectively and honestly. The crushing weight of modernity, with its dreadful side effects of isolation and monotony, has been at the center of much of the Austrian filmmakers’ work.