Rather a mistrust of every image because every image is manipulative. In terms of aesthetic imagery, film and video are similar (Haneke, 2006).

In his response to the design of the George family's fixed camera telephoto shot, which appears several times in Cache (Haneke, 2005), Haneke introduces the concept of 'image mistrust'. He argues that the blurring of the boundary between film and video images, caused by the insertion of video in other media, creates a sense of mistrust in the viewer of the image at hand.

Cache (Haneke, 2005)

Cachewas inspired by Haneke's viewing of an ARTE documentary about the 1961 massacre of revolutionary Algerians in Paris, and his shock at the fact that it took forty years for the story to come to light in a country like France, which prides itself on its freedom of the press (Porton, 2005). The incident inspired his distrust of the media and inspired him creating film.

Firstly, Cacheuses television as an example of opinion leaders filtering television programs and making the information received by viewers simplistic and one-sided, making the population less capable of receiving complex information and easier to manage. Theory of two-step flow of communication(Lazarsfeld, 2021) reflects this view, where the impact of mass communication does not affect people directly, but is transmitted to them through a second filter by opinion leaders. People lose trust in the media because they learn the truth about what is communicated, and Haneke excels in using media forms in his films to reflect on social issues. For example, in the post-production of George's television program, the editors manipulated the content of the programme, cutting out what they considered superfluous and keeping the simpler content more accessible to the audience. This demonstrates the power of managers to manipulate public opinion and breaks people's sense of security in the media.

Cache (Haneke, 2005)

Secondly, the media's ability to communicate is diminished by the class divide. With first-world middle-class families constructing safe spaces that paralyze the violence of media communication, demonstrating the diminished effectiveness of media reflection in public spaces (Cowan, 2008). For example, the decoration of George's home reflects the middle-class identity of George's family. The television as a media medium in his home is set inside a bookshelf full of books, a sense of framing that suggests that the first-world middle class constructs a closed safe space in their home where the suffering of the third world is allowed to be discussed.

Cache (Haneke, 2005)

However, at the same time these sufferings are only discussed and can easily be impacted by the personal and trivial emotions of life (Cowan, 2008). In one scene, a television screen shows images of the war in Iraq, and as the camera zooms out it shows George and Annie having an argument. This scene shows the safe space constructed by the bourgeoisie to withstand external malevolence, as they ignore the news shown on television and dwell on their own emotional situation. This episode of paralyzing violence embodies the middle class's avoidance of difficult encounters within public space, invoking a reflection that denies the positive role of media propaganda.

Cache (Haneke, 2005)

In sum, despite Haneke's objective, almost callous, camera representation of middle-class life, European immigration and historical-political issues, the viewer can still feel a strong sense of involvement and guilt at the collapse of the media framework, provoking a reflection on the media in today's society in the form of a film.

Reference:

Cowan, M. (2008). Between the street and the apartment: disturbing the space of fortress Europe in Michael Haneke. Studies in European Cinema, 5(2), 117-129. doi:10.1386/seci.5.2.117/1

Heiduschka, V. (Producer), & Haneke, M. (Screenwriter/ Director). (2005). Cache [Motion picture]. France, Austria, Germany and Italy : Les Films du Losange.

Lazarsfeld, P. F. (2021). The People’s Choice:How the Voter Makes up His Mind in a President Campaign. Columbia University Press.

Porton, R. and Haneke, M. (2005). Collective GuiltandIndividual Responsibility: AnInterviewwithMichael Haneke. Cinéaste, 31(1), 50-51.

Tageszeitung, D. (2006, January 30). Cowardly and comfortable. Retrieved from http://www.signandsight.com/features/577.html

從《隱藏攝像機》和長評得知，這電影講的是法國移民的融合與沖突，和男女有什么關(guān)系？網(wǎng)友：我看過這電影，你莫要騙我。

只有女性才會說我們要講女性的故事，男性不會告訴你，他要講男性的故事，他會說他講的是人性，所以這片當(dāng)然不會有性別標簽，但是只要有人，性別就存在。

電影的一開始，室內(nèi)鏡頭

在鏡頭里，男性和女性的位置，女性始終背對鏡頭，以至于出場15分鐘了，我們還不確定這是那位法國最偉大的女演員嗎？

也許有人要反駁，是第一男主角，這個故事里女性只是配角，看下一幕

兒子回來了，此時電影的構(gòu)圖就是這個家庭的定位，女主人始終沒有正面，由一盒錄像帶引發(fā)的故事，并且這盒錄像帶是女主回家先發(fā)現(xiàn)的，為什么她會發(fā)現(xiàn)呢？因為她要第一個回家做飯，但她在導(dǎo)演的敘述里甚至沒有那個藍色塑料袋重要。

基本上這樣的鏡頭比比皆是，女主人仿佛是這個家的幽靈，當(dāng)然也不能一直當(dāng)她不存在，那就太刻意了，還是會給幾個正面。

本片的女主也有工作，但從未出現(xiàn)她工作場景的描述，理由：她不是主角，所以她可以合理的在家做飯，女人下班了在家不做飯，能 干 嘛？導(dǎo)演想不到女人能干嘛，也不準備去思考她能干嘛，女性觀眾看到這里，手里沒碗，心中已經(jīng)有個碗準備去給老公盛飯了。

接下來隨著劇情的深入,下圖，男主終于在頻繁送來的錄像帶里發(fā)現(xiàn)了線索。

女主過來問發(fā)現(xiàn)了啥？

這里先暫停一下，復(fù)盤一下這個故事，一盒錄像帶出現(xiàn)在這個家的門口，女主第一個發(fā)現(xiàn)錄像帶，拿進屋，男主看到問這啥玩意兒，兩人一起看了就是對面攝像頭拍的門口的街道景色，錄像帶的內(nèi)容沒有特別的指向性，但不得不承認，不劇透的情況下，我們都把錄像帶和男主聯(lián)系在了一起。

我們應(yīng)該產(chǎn)生一個疑問，為什么這盒神秘的錄像帶不是夫妻兩的秘聞？不是女主角的秘聞？

這個疑問并非不合理，因為女主也有這樣的疑問，見下圖

女主問：請你透露一下線索，也許和我有關(guān)

電影播放了50分鐘，女主終于想起來這錄像帶可能也是她的秘密啊。

接下來發(fā)生了一段習(xí)以為常，我們已經(jīng)看過千萬遍的爭吵套路，見下圖

女主問：我簡直不敢相信你居然不肯告訴我你的發(fā)現(xiàn)！

男主：你別無理取鬧好不好。不是你想的那樣？

這里是典型的被一直灌輸?shù)哪信疇幊车哪Ｊ剑械恼f話模棱兩可，支支吾吾，有頭沒尾，神秘莫測，女的則歇斯底里，無理取鬧，我不聽我不聽。

所有人都會說女的就是不講道理，至于她為什么要發(fā)脾氣，無人問津。

本片導(dǎo)演從一盒沒有指向性的錄像帶開始，先給了女主機會去定義這盒錄像帶的走向，但她沒有，她就把錄像帶扔一邊，接著男主拿起來，開始研究這盒錄像帶，把錄像帶的故事拉到了自己的方向，也就是占為己有。此時，女主才醒悟過來，啊 也許這個東西本來是屬于我的，她憤怒，表達情緒，但為時已晚了。

在其他人看來，她就是個半路殺出來的瘋女人，這電影的主題和你一毛錢關(guān)系都沒有，這世界的成果也是，你不是主角。

我們此時又要產(chǎn)生第二個疑問，為什么女主不去關(guān)心一下這啥玩意呢？比如你們家門口出現(xiàn)一個神秘的東西，誰來做它的挖掘者？

女主撿到錄像帶拆開以后就放下了，她干嘛去了？她去做飯了，做完飯還得收拾洗碗，等她想起來（也許太累沒有想起來）男主已經(jīng)自己在看錄像帶。

這一幕在電影里都是如實呈現(xiàn)的，看上去和最終的主題確實沒啥聯(lián)系，但既然導(dǎo)演給你看這么一長段了，那就是有思考的空間。

從這次爭吵以后，故事的主線已經(jīng)和女主徹底割裂，接下來就是男主（男性）的歷史了。

俗稱 人性的故事

我們作為觀眾，經(jīng)歷了一場人性（男性）的洗腦侵犯，而不能撤回，并且藏著特洛伊木馬的電影比比皆是，防不勝防。