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Code inconnu

Titre original : Code inconnu: Récit incomplet de divers voyages
  • 2000
  • Tous publics
  • 1h 58min
NOTE IMDb
7,1/10
16 k
MA NOTE
Code inconnu (2000)
A young man harasses a homeless woman, another man protests, the police arrest both and the woman has to leave the country. What were their various story-lines leading up to this event?
Lire trailer1:51
1 Video
90 photos
Drame

Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?Un jeune homme harcèle une femme sans-abri, un autre homme proteste, la police les arrête et la femme doit quitter le pays. Quels ont été leurs différentes histoires menant à cet événement?

  • Réalisation
    • Michael Haneke
  • Scénario
    • Michael Haneke
  • Casting principal
    • Juliette Binoche
    • Thierry Neuvic
    • Josef Bierbichler
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    16 k
    MA NOTE
    • Réalisation
      • Michael Haneke
    • Scénario
      • Michael Haneke
    • Casting principal
      • Juliette Binoche
      • Thierry Neuvic
      • Josef Bierbichler
    • 83avis d'utilisateurs
    • 70avis des critiques
    • 74Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire et 3 nominations au total

    Vidéos1

    Trailer [OV]
    Trailer 1:51
    Trailer [OV]

    Photos90

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    Rôles principaux60

    Modifier
    Juliette Binoche
    Juliette Binoche
    • Anne Laurent
    Thierry Neuvic
    Thierry Neuvic
    • Georges
    Josef Bierbichler
    Josef Bierbichler
    • The Farmer
    • (as Sepp Bierbichler)
    Alexandre Hamidi
    • Jean
    Maimouna Hélène Diarra
    • Aminate
    • (as Helene Diarra)
    Ona Lu Yenke
    • Amadou
    Djibril Kouyaté
    • The Father
    Luminita Gheorghiu
    Luminita Gheorghiu
    • Maria
    Crenguta Hariton
    • Irina
    • (as Crenguta Hariton Stoica)
    Bob Nicolescu
    • Dragos
    Bruno Todeschini
    Bruno Todeschini
    • Pierre
    Paulus Manker
    Paulus Manker
    • Perrin
    Didier Flamand
    Didier Flamand
    • The Director
    Walid Afkir
    • The Young Arab
    • (as Walide Afkir)
    Maurice Bénichou
    Maurice Bénichou
    • The Old Arab
    Carlo Brandt
    Carlo Brandt
    • Henri
    Philippe Demarle
    • Paul
    Marc Duret
    Marc Duret
    • The Policeman
    • Réalisation
      • Michael Haneke
    • Scénario
      • Michael Haneke
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs83

    7,115.9K
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    Avis à la une

    8keithaitch

    Be prepared to be confused

    This is not a conventional film in the sense that the narrative is not complete. The myriad, unconnected short scenes from the lives of various characters that are presented to us have no beginning and no resolution. We come away having gained an insight into the lives of the various people we have seen, but wanting to know more about all of them. This makes for an incomplete experience, and if that is what you want or need then this is not a film for you. If on the other hand, a glimpse into the lives of people so every day and matter of factly portrayed, in a film so realistically set that suspension of disbelief is never an issue then this is a film for you. I came away, emotionally drained, without having had my emotions manipulated. On reflection (I think)this is a film about how cities dehumanise us, and on how we move together without connecting or communicating.
    9noralee

    A Fascinating Exploration of Communication Across Race, Class, Gender, Ages, Geography and Senses

    "Unknown Code: Incomplete Tales of Several Journeys (Code inconnu: Récit incomplet de divers voyages)" is a fascinating exploration of communication, using all the elements of film to create a trompe l'oeil of sight, sound and character interactions.

    We see extended vignettes of people tangentially related through an accidental intersection in Paris. In a brief interview on the Sundance Channel, where I viewed the film, writer/director Michael Haneke said he specifically selected Paris because it is one of the few European cities whose multiculturalism is so visible. We see here how it attracts immigrants not only as traditionally from the rural countryside, but now from Eastern Europe and Africa.

    Though not as violent as the incidents in "Amores perros", released the same year, or the later "Crash," the unsettling confrontation influences the characters' perceptions, of each other and of authority figures. We see them made sensitive to how people look, how people talk to each other, the sounds they make, and, even more importantly, shades how they interact. We see how differently people communicate with their own families, with their friends, their parents, their children, their colleagues, their lovers or their advisers, particularly through simple life cycle events.

    Sometimes Michael Haneke toys with us, as the camera moves back and reveals that a poignant situation isn't as dire as we thought, particularly playing on the terrific Juliette Binoche's well-known image as a beautiful actress (and yes, she does look beautiful even standing around in lingerie ironing while watching TV). Or he plays ironic tricks – having deaf kids do emotional charades or perform in a marching drum band or creating ambiguity about a door entry code to reinforce a theme of restless homelessness. We see lovers who communicate passionately without words, in one lovely scene even without touching. (I wonder if this scene with these two inspired a related scene in Rodrigo García's recent "Nine Lives.")

    One key character is a self-righteous photojournalist (really stereotypically portrayed by bearded, hunky, disheveled Thierry Neuvic in a multi-pocketed vest with an ever-present camera around his neck) documenting ethnic cleansing in Kosovo or taking candid portraits of unaware subway passengers. But he is helpless at assisting his rebellious teen brother or sullen farmer father or estranged young son. Issues of responsibility to neighbors and passersby is viscerally shown to be not the extreme goal of stopping genocide, but rather providing dignity to a fellow human being or simply listening to what's happening next door and acting on it.

    Haneke provides sympathetic insight into the inner lives of African immigrants, with an ear to how happenings look different to Western rationalists than to those used to revelations of divine and interpretive meanings, particularly in dreams, or sense of time.

    But while he is very sympathetic to the pushes and pulls of immigration that change people's place in society from matriarch to "the gypsy" as the universal "other" who everyone higher up in society puts down, the family scenes in the Romanian village are more stereotyped, with ethnic wedding dancing.

    Haneke's disarmingly passive style, with almost no music or cinematic affectations (he even mocks his Dogme-style use of sound by showing actors in the film-within-a-film re-dubbing dialog lost to a passing airplane) does make us feel like voyeurs, with each vignette constructed in a single take. In the filmed interview he said the key opening scene took 32 takes before he was satisfied.
    Chungwai

    Multi- cultural dilemmas that exist everywhere

    "Code Unknown" is truly an excellent portrayal of the never- ending multi- cultural dilemmas within a "modern" society. It is a topic that we all have to face everyday. It has become part of our lives and for most of us, we have gotten used to it, to accept it as is. I strongly recommend everyone to spend 2 hours to see what we really are going through in our society, and an issue that we think we are solving yet deep down we are ignoring it for all sorts of selfish reasons. The message in this movie has also aroused us that our younger generations are also making the same racial mistakes that we, the so- called "older generation", have all seen and some might have had already experienced not once, but several times. The unique way of editing in this film works perfectly with the story because I was very disturbed by the elongated black outs between scenes; however, the more I felt disturbed, the more I felt as if I was one of the characters, sharing their emotions and their confusions. The timing of the black outs was also a superb and fresh way to reflect a continuation of the situations in the most cleverly subtle alternative. What we see on the silver screen is actually a mirage of our reality. Instead of telling us to our face that we are having problems, it simply shows us what we are doing everyday. It is that simple.
    ThreeSadTigers

    Probably one of the more accessible of Haneke's dour, psychological studies

    Code Unknown; Incomplete Tales of Several Journeys (2000) is another of director Michael Haneke's deeply austere and emotionally rigid intellectual probes into the human condition; and the various psychological elements that cause problems, not only in our personal lives and relationships, but in a broader, sociological sense as well. At this point it is perhaps worth noting that the film's essay-like subtitle alludes to the style of the film, which involves a number of long, unbroken shot compositions (some longer than ten minutes) that often end abruptly, with no real sense of resolution.

    Presented as a series of loosely connected vignettes that focus on the idea of character interaction as opposed to narrative direction, Code Unknown is a difficult film to appreciate, at least at the level that many of us would probably approach it. One of the main focus points here is the idea of perception; how both we as an audience and the characters in the film perceive the action unfolding from the limited point of view that we've been given. Some good examples of this would include the lengthy and suitably tense scene early on in the story; in which a number of unconnected characters all come together through a seemingly mundane event that ends with a scuffle erupting between a white teenager and a young black man, resulting in both men - and the various onlookers - being arrested. Later, midway through a particularly disconcerting scene, a toddler playing on the balcony of a high-rise apartment slips, all the while watched with horror by his terrified parents who are powerless to do anything. Then finally, towards the end of the film, we watch in eager suspense as a young Arab boy harasses Juliette Binoche's character on a Parisian metro. Throughout the film and these sequences in particular we expect something spectacular and thrilling to happen but it never seems to arrive, until, of course, we realise that 'something' is happening.

    As with his most recent film, the highly acclaimed Hidden (2005), there are a number of interesting sequences in Code Unknown, which, on basis of description alone, could easily lead one to believe that they are about to watch a tense, Hollywood thriller. The film obviously couldn't be further removed from this ideal, however, with Haneke once again offering us a dour, colourless psychological study, in which characters crash into one another almost at random and cause a ripple effect that disrupts the order of everything that came before. Clearly, Code Unknown is unconcerned with thrilling the audience, at least, not in the typical sense; with the film never allowing the dramatic tension to build to anything beyond the confines of these various character vignettes that are strung together one by one in order to build up the story. This is a film that wants to enlighten with a raw depiction of everyday life; taking the viewer from moments of deadpan humour (albeit, incredibly low-key humour) to scenes that evoke a feeling of almost crippling desperation. Once again, these techniques are used to mislead the audience into thinking that the film is heading in a different, very "non-Haneke-like" direction, before switching track and confounding us all over again. If you give it some time to really get going, then the results can be oddly thrilling, and - in my opinion - probably more enjoyable and satisfying overall than anything else Haneke has directed.

    Still, the film does have that sense of screaming polemic that much of the director's previous work has occasionally descended into; with the loose ends and the experiments in cinematic formalism creating a cold and intellectual exercise that will naturally turn many potential viewers away. A real shame too, because regardless of these distancing intellectual experiments, the direction, photography and acting are superb throughout, and - like The 7th Continent (1994) and Funny Games (1997) - help to weave together a beguilingly tense tapestry of guilt, anger, misery and social despair.
    jdquinn-1

    don't have the code either

    I tracked this one down after being impressed with Haneke's "Funny Games," and while the two films could not be farther apart in intent, both reveal a competent filmmaker of enigmatic yet fascinating films. It seems in the three years between the two films, Haneke has replaced his antagonistic/didactic antics in favor of a more personal, contemplative study of how simple actions in today's diverse culture can have far-reaching effects. "Code Unknown" is as involving visually as it is cerebrally. Apart from a few montages (comprised of photos taken by one of the film's many peripheral characters), almost every scene is composed in one long, carefully orchestrated shot. Without the distractive tendencies of editing, the viewer is promptly absorbed into each vignette, each of which is loosely related to the others by the film's first scenario. Throughout the film, complex social issues such as xenophobia, vagrancy, and familial strife are explored; however the film's effectiveness lies in its ability to portray the sense of homelessness often described as an inevitability of today's consumerist, globalist culture. Which is not to say that the film succeeds indefinitely in its grand scope. At times, the scenes seem either pointless, or pointlessly drawn out. It occasionally seems Haneke is overreaching in breadth: framing the film with deaf children signing seems somewhat pretentious, but can be forgiven when the rest of the film's minimalist formality is taken into consideration. However, an interesting analysis of the semiotics of "Code Unknown" could probably be thought out (the two meta-films, the deaf kids, the title), but that would require more than one viewing, and more tenacity than I'm sure most viewers are willing to give. Still, quite a visually stunning and at times intense film, slightly marred only by the same quality that makes it worthwhile: its refusal to adhere to accepted filmic logic.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Michael Haneke began the project when Juliette Binoche wrote to him expressing an interest in working with him.
    • Citations

      Anne Laurent: Look over by the wall. That's the black kid who harassed Jean. Don't let him see...

      [abrupt cut]

    • Connexions
      Featured in Ma vie: Michael Haneke (2009)

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    FAQ19

    • How long is Code Unknown?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 novembre 2000 (France)
    • Pays d’origine
      • France
      • Allemagne
      • Roumanie
    • Langues
      • Français
      • Roumain
      • Malinka
      • Langue des signes française
      • Anglais
      • Bambara
      • Arabe
    • Aussi connu sous le nom de
      • Projet inconnu
    • Lieux de tournage
      • Mali
    • Sociétés de production
      • Arte France Cinéma
      • Bavaria Film
      • Canal+
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 95 242 $US
    • Montant brut mondial
      • 95 242 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 58min(118 min)
    • Couleur
      • Color
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 1.85 : 1

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