I think the most telling thing about Das Weisse Band
is the difference between how it we received in Germany, where it was produced:
In Oberösterreichische Nachrichten, Julia Evers called the film "an oppressive and impressive moral painting, in which neither the audience nor the people in the village find an escape valve from the web of authority, hierarchy and violence. [...] Everything in The White Ribbon is true. And that is why it is so difficult to bear."[20] Markus Keuschnigg of Die Presse praised the "sober cinematography" along with the pacing of the narrative. Keuschnigg opposed any claims about the director being cold and cynical, instead hailing him as uncompromising and sincerely humanistic.[21] Die Welt's Peter Zander compared The White Ribbon to Haneke's previous films Benny's Video and Funny Games, both centering around the theme of violence. Zander concluded that while the violence in the previous films had seemed distant and constructed, The White Ribbon demonstrates how it is a part of our reality. Zander also applauded the "perfectly cast children", whom he held as "the real stars of this film".[22] "Mighty, monolithic and fearsome it stands in the cinema landscape. A horror drama, free from horror images", Christian Buß wrote in Der Spiegel, and expressed delight in how the film deviates from the conventions of contemporary German cinema: "Director Michael Haneke forces us to learn how to see again". Buß suggested references in the name of the fictitious village, "Eichwald", to the Nazi Obersturmbannführer Adolf Eichmann and the Buchenwald concentration camp.[23] Eichwald is however a common German place name, meaning the "Oak Forest".
and by US media:
Critics such as Claudia Puig of USA Today praised the film's cinematography and performances while criticizing its "glacial pace" and "lack [of] the satisfaction of a resolution or catharsis."[24] Ann Hornaday of the Washington Post wrote that trying to locate the seeds of fascism in religious hypocrisy and authoritarianism is "a simplistic notion, disturbing not in its surprise or profundity, but in the sadistic trouble the filmmaker has taken to advance it."[25] Philip Maher at allmovie.com found the director "ham-handed" and "in the end his attempt at lucidity inevitably draws us further from the essential nature of fascism".[26] [via wikipedia]
some people just don't get it.
(also, watch this movie)
