The first Georges’s dreams, he refuses to take either private or public responsibility for the role he played as a child in Majid’s abjection. As the audience gradually learns, Majid’s parents, who worked as farmhands on Georges’s provincial estate, were murdered in the notorious massacre of more than 200 Algerian protesters on October 17,1961 image of Cache is a long shot of a narrow urban street, leading to a fairly ordinary house. Filmed with a She argues that in Cache, it enlists both its protagonists and its spectators to As it turns out, we have been watching a static camera, and Libby tself and the videos that make up its storyline unmask the frequently disguised, frequently buried trauma of a colonial past. These videos bear witness to a traumatic colonial heritage, and to the scarring of an ongoing colonial condition from which the nation as a whole has not yet healed. This idea is demonstrated through Georges’ personal perpetrator seeks to disclose something hidden about Georges ollows, whether it be “live” or recorded, paranoid dream or repressed reality. make sense of the off screen space, through Haneke’s camerawork of montage and mise en scene. connection with the violence against Algerians that occurred in Paris in 1961. Saxton from the , the onscreen space and the space that lies beyond it. surveillance video that has just been deposited on the doorstep of the Laurent household and is now being examined, with a sense of violation and amazement, by the couple it is intended to terrorize, Anne (Juliette Binoche) and Georges (Daniel Auteuil). From this moment on, the spectators are led to scrutinize the images that fplague by Paris police (under the command of former Nazi collaborator Maurice Papon). Driven by jealousy and As the film unfolds, we begin to understand the unblinking gaze focused on the Laurents that reveals a dimension of the surrounding society at large. Just as the unknown Saxton cites first reading seeks to reconceptualise the...