Il nastro bianco

Wholesome Hamlet’s Horror Sends a Jolt to the System

The last shot of Michael Haneke’s “White Ribbon” is haunting not because it sums up the unnerving, at times horrifying series of events that have filled up the previous 2 hours 25 minutes, but rather because it seems to unfold as if none of them have taken place. Taken alone, the film’s final image might conjure a mood of gentle, pastoral nostalgia. Here, in glowing, understated black and white, we glimpse part of a world that used to be. The camera sits inside an austerely beautiful village church that is illuminated by winter morning sunlight, its pews filling with congregants whose dark clothes and weathered faces bespeak hardy old virtues of work, faith and family. [...]

di A. O. Scott, articolo completo (7671 caratteri spazi inclusi) su The New York Times 30 dicembre 2009